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The

ALTOSAX

of

LEMUEL ARTHUR DAVIS “LEM”

Solographer: Jan Evensmo Last update: Sept. 10, 2018

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Born: Tampa, Florida, June 22, 1914 Died: NYC. Jan. 1970

Introduction:

I must admit that my first encounter with Lem Davis through the Buck Clayton’s jam sessions was not successful, in fact I did not dig his style. Since then, for many years, I did not think much about him. However, recently, Daniel and Werner opened my ears and made me think differently. So here it is!

History:

Worked regularly with pianist Nat Jaffe during the early 1940s, with Roger Kay (late 1942), toured in ’ Septet (1943). Joined Eddie Heywood (early 1944), briefly with Rex Stewart (1946), and with John Kirby (1946), then rejoined Eddie Heywood’s Sextet. During the 1950s and early 1960s worked in New York in pianist Teacho Wiltshire’s combo, took part in the first of the Buck Clayton ‘jam session’ recordings (ref. John Chilton).

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LEM DAVIS SOLOGRAPHY

HAROLD BOYCE & HIS HARLEM INDIANS NYC. July 5, 1941 Joe James (tp), Lem Davis (as), Sid Grant (ts), Harold Boyce (p, vo), Gladstone Thomas (b, vo), Arthur Herbert (dm, vo). Six titles were recorded for Decca:

69517-A De Donkey Want Water Solo 24 bars. (FM) 69518-A De Bush To Boil Tea Solo 16 bars. (FM) 69519-A Willie Willie Don’t Go From Me Solo 16 bars. (FM) 69520-A Bajun Gal Solo 16 bars. (M) 69521-A Knock Ya’ Self Out Solo 32 bars. (FM) 69522-A So What Solo 16+8 bars, (p) on bridge. (FM)

Our first encounter with Lem Davis and his altosax takes place under pretty strange circumstances as you can see from the titles. One would not believe much jazz could be found here, but in fact, apart from the vocal parts, this is pure small band swing of absolutely acceptable quality. LD turns out to be a very competent musician with a fine tone, and he is allotted solo space on all items. No particular item should be mentioned, they all have enjoyable soloing, also by the other horns.

BOYCE’s & HARLEM SERENADERS NYC. Oct. 9, 1941 Personnel probably similar to above. Four titles were recorded for Decca, no altosax solo on 69799-A “The Good Old Hometown Blues” but:

69800-A Harlem After Midnight Solo 18 bars. (S) 69801-A Long About Three In The Morning Solo 8 bars. (S) 69802-A Get In The Groove Solo 16 bars. (M)

Although the personnel is undocumented, there is no doubt that LD is present. He plays sweet, slow and nicely on “… Midnight” and particularly “… Morning”. On “… Groove” he fits into the Decca small band and Louis Jordan concepts with a good swinging solo.

COLEMAN HAWKINS probably 1943 Unknown (tp), possibly Lem Davis (as), Coleman Hawkins (ts), unknown (rhythm). "V for Victory" broadcast.

Unknown Title Solo 3 choruses of 32 bars. (M)

The personnel information came with the cassette I once received from a good friend, and the suggestion seems perfect. A fine swing performance with three altosax choruses and one trumpet chorus before the acetate runs out just when Hawk seems to go steaming!

EDDIE HEYWOOD & HIS ORCHESTRA NYC. Feb. 19, 1944 Doc Cheatham (tp), (tb), Lem Davis (as), Eddie Heywood (p), Al Lucas (b), Jack Parker (dm). Four titles were recorded for Commodore, no LD on 4723-1&2 “Indiana” and 4725-1&2 “Carry Me Back To Old Virginny” but:

4722-1 ‘T Ain’t Me Straight 8 bars. Solo with ens 16 bars. (SM) 4722-tk1 ‘T Ain’t Me As above. (SM) 4724-1 Blue Lou Solo 8 bars. (FM) 4724-2 Blue Lou As above. (FM)

NYC. Feb. 26, 1944 Same. Three titles, no LD on 4727-1 “Love Me Or Leave Me” and 4728-1&TK1 “Begin The Beguine” but:

4726-1 I Can’t Believe That You’re ILWM Solo 32 bars. (FM) 4726-2 I Can’t Believe That You’re ILWM As above. (FM) 4726-3 I Can’t Believe That You’re ILWM As above. (FM) 4

NYC. March 11, 1944 Same. Five titles, no LD on 4729 “I Cover The Waterfront”, 4734 “Save Your Sorrow” and 4737 “Lover Man” but:

4735-1 Just You, Just Me Solo 16 bars. (M) 4735-2 Just You, Just Me As above. (M) 4736-1 ‘Deed I Do Solo 8 bars. (M) 4736-2 ‘Deed I Do As above. (M)

These should be considered LD’s first recording sessions in ‘normal’ jazz surroundings with Eddie Heywood, an artist he should work much with in the future, and they show a competent altosax artist with a fine tone. That he knows how to improvise is obvious from the presence of alternate takes on “… Me”, where his debt to Hodges is quite notable (on “… Just Me” it is obvious that he knows Pete Brown). However, on the other items where he soloes, the similarity between takes is quite prominent, why?

BILLIE HOLIDAY VOCAL WITH EDDIE HEYWOOD & HIS ORCHESTRA NYC. March 25, 1944 Doc Cheatham (tp), Vic Dickenson (tb), Lem Davis (as), Eddie Heywood (p), Teddy Walters (g), (b), Sidney Catlett (dm). Four titles were recorded for Commodore, but no LD.

NYC. April 1, 1944 Same except Teddy Walters omitted. Four titles, but no LD.

NYC. April 8, 1944 Same as March 25 except Doc Cheatham omitted, possibly Freddie Webster (tp) added. Three titles, but no LD.

EDDIE HEYWOOD & HIS ORCHESTRA NYC. Nov. 13, 1944 Dick Vance (tp), Vic Dickenson (tb), Lem Davis (as), Eddie Heywood (p), Ted Sturgis (b), Keg Purnell (dm). Two titles were recorded for VDisc, produced as NBC broadcast “For The Record”, no LD on “Save Your Sorrow” but:

JB366 Just You, Just Me Solo 24 bars. (M)

A good, straightforward swinging solo on this one.

JAM SESSION NYC. Dec. 1, 1944 Vic Dickenson (tb), Lem Davis (as), possibly Stan Levey (p), Leonard Pollack (dm), Inez Cavanaugh (vo). One title recorded by Timme Rosenkrantz in his apartment:

6:32 The Man I Love Solo 32 bars. Obbligato parts. (S)

Played in a very slow tempo, LD shows his lyrical qualities on this “… Love”. The trombone is a bit too active here, sometimes getting in the way, but still this is one of his works I treasure most.

EDDIE HEYWOOD & HIS ORCHESTRA NYC. Dec. 15, 1944 Personnel same/similar to above. Two titles were recorded for Decca, no LD on “Begin The Beguine” but:

72636 Blue Lou Solo 8 bars. (M)

A brief and slick solo here.

ERROLL GARNER ALL STARS NYC. Dec. 26, 1944 Charlie Shavers (tp), Vic Dickenson (tb), Hank D’Amico (cl-“Geronimo”), Lem Davis (as), Erroll Garner (p), Slam Stewart (b), Cliff Leeman (dm). Five titles, recorded by Timme Rosenkrantz in his apartment, 7 West 46th Street:

Gaslight Solo 32 bars. (S) Red Cross Solo 64 bars. (FM) Meatless Pay Day Solo 32 bars. (M) Geronimo Solo 5 choruses of 12 bars. (M) Loot To Boot Solo 32 bars. (M)

This is an important session for LD. It sounds just like on of Timme’s home parties, where the time limit is not so important; “Gaslight” and “… Day” are 5 more than ten minutes long, the former particular noteworthy for having a very fine altosax solo in slow tempo. Very competent playing also on the other three items, of which “… Day” is noteworthy for a quite charming solo. Also some humorous blues on “Geronimo”. Postscript of Sept. 2018: A fifth item “Loot To Boot” has appeared!

EDDIE HEYWOOD & HIS ORCHESTRA NYC. Dec. 29, 1944 Personnel same/similar to above with Al Lucas (b) added. Two titles were recorded for Decca, no LD on “Please Don’t Talk About Me When I’m Gone” but:

72699-A Lover Man Soli 8 and 8 bars. (S)

Played with a fine shimmering tone but quite straight on both soli.

EDDIE HEYWOOD COMBO Hollywood, Ca., Jan. 29, 1945 Personnel including Vic Dickenson (tb), Lem Davis (as), Eddie Heywood (p). AFRS Jubilee No. 118/214, “Please Don’t Talk About Me When I’m Gone” and “Begin The Beguine”, but no LD.

Hollywood, Ca., March 1945 Same/similar. AFRS Jubilee No. 124, one title, “Begin The Beguine”, no LD.

Hollywood, Ca., April 1945 Same/similar. AFRS Jubilee No. 130, four titles, no altosax solo on “Save Your Sorrow For Tomorrow” and “The Man I Love” but:

Please Don’t Talk About Me When I’m Gone Solo 64 bars. (FM) On The Alamo Solo 32 bars. (M)

On this program LD has a long and well constructed solo on “Please …”, again showing lots of humour in his playing, dig this one! “… Alamo” is also good.

BING CROSBY VOCAL ACC. BY EDDIE HEYWOOD’s ORCHESTRA LA. Aug. 9 & 17, 1945 Personnel including Lem Davis (as). Four titles were recorded for Decca, three issued, but no LD.

LAMPLIGHTER’s JAZZ SESSION LA. Aug. 26, 1945 Emmett Berry (tp), Vic Dickenson (tb), Barney Bigard (cl), Lem Davis (as), Fletcher Henderson (p), Bob Stone (b), Zutty Singleton (dm). One title from Lamplighter broadcast:

Lamplighter Leap Solo with ens 64 bars. (M)

A pleasant smallband swing session ten minutes long uncamouflaged “Rose Room” with ample solo space for everybody. LD seems ignited and inspired and takes two jumpy choruses.

BING CROSBY VOCAL ACC. BY EDDIE HEYWOOD’s ORCHESTRA LA. Sept. 5, 1945 Personnel including Lem Davis (as). Two titles were recorded for Decca, but no LD.

LEM DAVIS SEXTET LA. Oct. 20, 1945 Emmett Berry (tp), Vic Dickenson (tb), Lem Davis (as), Dodo Marmarosa (p), John Simmons (b), Henry Green (dm), Ernie Shepard (vo-122). Four titles were recorded for Sunset:

122-3 Nothin’ From Nothin’ Breaks. Solo 16 bars. (M) 122-5 Nothin’ From Nothin’ As above. (M) 123-5 Blues In My Heart Solo/straight 32 bars. (SM) 124-4 It Was Meant To Be Solo/straight 16 and 8 bars to solo 8 bars. Long coda. (S) 125-6 My Blue Heaven Solo with ens 32 bars. Solo 16 bars to coda. (M)

Since this is LD’s first recording session under his own name, one should think he would do the most out of it. However, at least this listener is somewhat disappointed, the session is rather ordinary to the point of boring, and the leader himself plays mostly semistraight upon very conventional arrangements. Choosing one item, “… Heaven” is a good candidate.

EDDIE HEYWOOD LA. Nov. 20, 1945 6 Personnel probably similar to previous Eddie Heywood sessions. Two titles were recorded for Decca, only “Coquette” issued, but no LD. _ THE JUBILEE ALL STARS LA. Dec. 1945 Mannie Klein, Bobby Hackett, Frank Wiley, Emmett Berry (tp), Vic Dickenson, Ray Connniff, Henry Coker (tb), Lem Davis, Willie Smith (as), Corky Corcoran, Babe Russin (ts), Jack Martin (bar), Juan Rolando (p), Slim Gaillard (g, vo), Bam Brown (b, vo), Leo Watson (dm, vo). AFRS Jubilee No. 153, two titles, no LD on “Rough Idea” but:

Sonny Boy Solo 32 bars. (FM)

This “Sonny …” is a real and long jam session, where everybody gets solo space, presented by Slim himself. LD, early in the proceedings, is certainly swinging here!

SLIM GAILLARD / LEO WATSON LA. Dec. 1945 Karl George (tp), Vic Dickenson (tb), Lem Davis or possibly Jack McVea (as), Fletcher Smith (p), Slim Gaillard (g, vo), Bam Brown (b, vo), Leo Watson (dm, vo). AFRS Jubilee No. 155, two titles, one has altosax:

Voutoreene Solo 32 bars. (M)

This altosax solo has several of the humourous aspects of LD’s style, and most likely to be his.

JOE THOMAS’ BIG SIX NYC. Feb. 14 or 15, 1946 Joe Thomas (tp), Lem Davis (as), Ted Nash (ts), Jimmy Jones (p), Billy Taylor (b), Denzil Best (dm), Babe Matthews (vo-1025,26). Four titles were recorded for H.R.S.:

1025-2 No Better For Ya Obbligato 8 bars. (M) 1026-1 He’s Got So Much Obbligato 12 bars. (SM) 1027 Riff Street Solo 32 bars. (F) 1028-1 A Touch Of Blue Solo 8 bars. (S)

A competent fast solo on “Riff …”, but LD’s taste is not always the very best. Nice background playing, particularly on “… So Much”. The session highlight is the slow and beautiful solo on “… Blue”, LD could definitely make excellent music in this tempo when he wanted to.

EDDIE SAFRANSKI’s QUARTET & ALL STARS NYC. Feb. 26, 1946 Collective personnel: Leonard Hawkins (tp), Gene Roland (vtb), Lem Davis, Boots Mussulli (as), Vido Musso (ts), Sanford Gold (p), Eddie Safranski (b), Denzil Best (dm). Four titles were recorded for Savoy, no LD on 5892 “Spellbound” but:

5890 Bassology Solo 8 bars. (M) 5891 Jam Session At Savoy Soli 28, 4 and 4 bars. (FM) 5893 Lemme Go Solo 32 bars. (FM)

On this session emphasis is on bass and piano, but LD has his moments. His brief solo on “Bassology” has its merits, and he swings merrily on the other items, note his ‘jingle bells’ on “Lemme …”.

LEM DAVIS SEXTETTE NYC. March 6, 1946 Neal Hefti (tp), Lem Davis (as), Hal Singer (ts), Sanford Gold (p), John Simmons (b), Denzil Best (dm). Four titles were recorded for Savoy:

5894 Theme On The Beam Intro 4 bars to solo/straight 16 and 8 bars to solo 64 bars. Solo with ens 32 bars to coda. (FM) 5895 Solace Solo/straight 32 and 12 bars to coda. (S) 5896 Chitlin’ Strut Straight 32 bars to solo 32 bars. Straight 8 bars to long coda. (M) 5897 Daily Double Soli 64 and 8 bars. (FM)

LD’s second session under his own name is much better than the first one. On the medium tempi he swings merrily with obvious confidence, note particularly the long soli on “… The Beam”, a slightly camouflaged “I Can’t Believe IILWY”, 7 and “… Double”. The only slow item, “Solace” is sweet and straight, of no great interest, except for demonstrating LD’s personal taste in this tempo.

LEM DAVIS SEXTETTE NYC. May 10, 1946 Courtney Williams (tp), Vic Dickenson (tb), Lem Davis (as), Sanford Gold (p), Al Hall (b), Denzil Best (dm). Four titles were recorded for Savoy:

59038 I Do Not Believe Solo/straight 16, 8 and 16 to coda. (S) 59039 I Never Knew Soli 64 and 8 bars. Coda. (FM) 59040 Lovely You Solo/straight 32 and 8 bars to coda. (S) 59041 Gumpey Soli 24 and 12 bars. (M)

On “… Believe” and “… You”, LD plays straight and sweet, like the previous “Solace”, but only Hodges could do this with any success, at best we may accept this as nice and pretty but not particularly interesting. Much more interesting is his swinging in medium tempo.

BILLY KYLE’s BIG EIGHT NYC. Sept. 11, 1946 Dick Vance (tp), Trummy Young (tb, vo-1057), Buster Bailey (cl), Lem Davis (as), John Hardee (ts), Billy Kyle (p), John Simmons (tb), Buddy Rich (dm). Four titles were recorded for H.R.S., no LD on 1057-1 “Ooh Baby, You Knock Me Out” and 1058-2&3 “Date For Eight” but:

1056-3 H.R.S. Bounce Solo 16 bars. (M) 1059-3 Contemporary Blues Solo 12 bars. (SM)

An unusual soft and laidback solo on “… Bounce” and a fine, elaborate blues chorus.

BILLIE HOLIDAY VOCAL WITH JOHN SIMMONS & HIS ORCHESTRA NYC. Dec. 27, 1946 Rostelle Reese (tp), Lem Davis (as), Bob Dorsey (ts), Bobby Tucker (p), John Simmons (b, cond), Denzil Best (dm). Two titles were recorded for Decca, no altosax on “The Blues Are Brewin’” but:

73768 Guilty Solo 4 bars. (S) 73768-alt. Guilty As above. (S)

Sweet and of no particular interest.

LEM DAVIS QUARTET NYC. Oct. 16, 1951 Lem Davis (as – “in echo chamber”), Teacho Wiltshire (p), Leonard Gaskin (b), Teddy Lee (dm). Six titles were recorded for Prestige, two have been available:

217 This Is Always Solo 32 bars to coda. (S) 218 Knock Hop Straight 32 bars to solo 32 bars. Straight 32 bars to coda. (FM)

“This ...” is very slow and surupy, one chorus takes the whole side, and the playing is close to parodic, still with qualities, as in the rapid coda. The solo on “... Hop” is not at all bad. Great jazz however this is not.

THE CABINEERS WITH TEACHO WILTSHIRE’s BAND NYC. Dec. 20, 1951 Lem Davis (as), Teacho Wiltshire (p), Leonard Gaskin (b), Teddy Lee (dm), The Cabineers (vo-group). Four titles were recorded for Prestige:

287 What’s The Matter Now? Obbligato parts. (S) 288 Baby Mine Obbligato parts. Solo 8 bars. (S) 291 Pretty Solo 32 bars to long coda. (S) 292 Hoppy’s Hop Solo 32 bars. (FM)

Although the solo on “Baby …” is pretty syrupy, it is nevertheless nice, and there is some background playing also to be noted. “… Now?” has only academic interest, if any. Postscript of Nov. 9, 2017: The two remaining titles have appeared. If “Baby …” was syrupy, “Pretty” has it double, but believe it or not, I like this playing! “… Hop” has a good straightforward solo.

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KING PLEASURE VOCAL & BOBBY HARRIS VOCAL WITH TEACHO WILTSHIRE & HIS BAND NYC. Feb. 19, 1952 Merrill Stepter (tp), Lem Davis (as), Ray Abrams (ts), Cecil Payne (bar), Teacho Wiltshire (p), Leonard Gaskin (b), Teddy Lee (dm), King Pleasure, Blossom Dearie, Bobby Harris (vo). Four titles were recorded for Prestige, “Moody’s Mood For Love” and “Exclamation Blues” with King Pleasure/Blossom Dearie have no LD, “I Do Believe” and “Rub A Little Boogie” with Bob Harris not available.

JOE THOMAS / BABE MATTHEWS New York, ca. 1953 Joe Thomas (tp), Lem Davis (as), Kenny Kersey (p), Billy Taylor (b), J. C. Heard (dm), Babe Matthews (vo). Four titles were recorded for Seeco:

1377 No Better For Ya Solo 8 bars. (M) 1378 Smilin’ To Myself Solo 8 bars. (M) 1379 Lost In A Dream Obbligato 8 bars. (S) 1380 Indiana Solo 32 bars. In ens. (F)

Typical and a bit rough solo on “… Myself” and some sweet background on “… Dream”. Good soloing also on “… For Ya” and particularly “Indiana”, no problem with the fast tempo.

BUCK CLAYTON JAM SESSION NYC. Dec. 14, 1953 Buck Clayton, Joe Newman (tp), Urbie Green, Benny Powell (tb), Lem Davis (as), Julian Dash (ts), Charlie Fowlkes (bar), Sir Charles Thompson (p), Freddie Green (g), Walter Page (b), Jo Jones (dm). Two titles were recorded for Columbia:

50436-4 Moten Swing Solo 64 bars. (M) 50437 Sentimental Journey Solo 32 bars. (SM)

Looking at LD’s career and recordings, it is obvious that he did not really manage to establish himself among the jazz greats on his instrument. Born as early as 1914, he should have come up during the swing era, but did not. Even working with Coleman Hawkins and Eddie Heywood did not help much, nor quite a lot of recording sessions in 1946. Therefore it is kind of anachronistic that he got such a prominent role in the famous Buck Clayton jam sessions so late as 1953/54. Perhaps his joking style did offend many listeners as it did me when I heard him the first time. Listening closely now it is obvious that LD was a creative and very competent altosax player who has much to offer. Dan Morgenstern, writing the liner notes, has many interesting things to say about LD’s music, so I leave it to him: “On “Moten …”: “LD leads off the solo order with two choruses showing he’s been affected by bop, specifically Charlie Parker. He’s got cute ideas, a humorous manner, and very relaxed time”. And on “… Journey”: “Lem’s even more humorous here; his phrasing is bop but his time is swing”.

NYC. Dec. 16, 1953 Same except Henderson Chambers (tb) replaces Powell. Four titles, no LD on 50531-2 but:

50531-6 Lean Baby Solo 16 bars. (SM) 50532 The Huckle-Buck Soli 48 and 48 bars. (M) 50533-1 Robbins’ Nest Solo 32 bars. (M) 50533-2 Robbins’ Nest Soli 4, 4, 4 and 32 bars. (SM) 50534-1 Christopher Columbus 64 bars 8/8 and 4/4 with (ts). Solo 64 bars. (M)

Quoting Dan Morgenstern again: “On “… Nest” take 1: “Lem, entering with a quote, changes the mood from romantic to sardonic, putting some grit in his last eight”, and on the 29 minutes long “… Columbus”: “Lem does two cute choruses, at his most outrageous, working out on a riff during his second chorus”.

BUCK CLAYTON JAM SESSION NYC. March 31, 1954 Buck Clayton, Joe Thomas (tp), Urbie Green, Trummy Young (tb), Woody Herman (cl), Lem Davis (as), Al Cohn, Julian Dash (ts), Jimmy Jones (p, cel), Steve Jordan (g), Walter Page (b), Jo Jones (dm). Three titles were recorded for Columbia: 9

51243-2 How Hi The Fi Solo 8 bars. Solo 3 choruses of 32 bars to coda. (FM) 51243-5 How Hi The Fi Soli 8 and 64 bars. (FM) 51244-3 Blue Moon Solo 32 bars. (SM) 51245-1 Jumpin’ At The Woodside Solo 8 bars. (F)

LD is invited into studio again and does very able work. DM says on “… The Fi” take 2 and 5 respectively: “Lem eases in; he’s protoboppish here, sounding a bit like Pete Brown would have liked to sound after he got Bird’s message (Lem was hip almost by definition)”, and “Then Lem enters with a “darling we are growing older quote” quote, humorous and also showing he knows how to build”. On “Blue …”: “Lem winds himself nicely out of the ensemble and into a fine solo, with an inventive bridge, he’s on – I like this guy!”

MEL POWELL & HIS ALL STARS NYC. April 9, 1954 Collective personnel: Ruby Braff, Jay Brower, Buck Clayton (tp), Vernon Brown, Urbie Green (tb), Tony Scott (cl), Lem Davis (as), Buddy Tate, Eddie Shu (ts), Romeo Penque (as, bar), Mel Powell, Teddy Napoleon (p), Steve Jordan (g), Milt Hinton (b), Jo Jones (dm), Gene Krupa (dm-51389), Martha Lou Harp (vo- 51386). Four titles were recorded at concert in Carnegie Hall, issued as “Jam Session At Carnegie Hall”, no LD on 51386 “When Day Is Done” but:

51387 I Found A New Baby Solo 64 bars. (FM) 51388 Lighthouse Blues Solo 48 bars. (M) 51389 After You’ve Gone Solo 80 bars. (F)

Another jam session maybe not so well remembered. Being live at Carnegie Hall, the ensembles are much less structured as on the Buck Clayton ones, but there is lots of brilliant music here, of course primarily by the magnificent Mel Powell. Nevertheless there is blowing space for, including LD who seems to be in a real playing mood, stretching his soli as far as he dares. His opening phrase on “… Baby” is pure Pres, and he continues highly inspired. He plays his four surging blues choruses on “Lighthouse …” as good as any competitor. And although entering a bit late on “After …” he takes two swinging choruses, although with too much noisy drums by Krupa behind him.

BUCK CLAYTON JAM SESSION NYC. Aug. 13, 1954 Buck Clayton, Joe Newman (tp), Urbie Green, Trummy Young (tb), Lem Davis (as), Coleman Hawkins (ts), Charlie Fowlkes (bar), Billy Kyle (p, cel), Freddie Green (g), Milt Hinton (b), Jo Jones (dm). Three titles were recorded for Columbia:

52504-4 Don’t Be That Way Solo 32 bars. (M) 52504-6 Don’t Be That Way As above. (M) 52506-2 Undecided 32 bars 4/4 with (bar) to solo 32 bars. (FM) 52506-3 Undecided As above. (FM)

52507-1 Blue And Sentimental Solo 10 bars. (S)

The final jam session and not so much to add, humour seems to be one of LD’s best weapons, and it exciting to hear him chasing baritonesax on “Undecided”. As a summing up, LD really deserved his place in these historical meetings!

BENNIE GREEN NYC. Dec. 1960 Bennie Green (tb), Lem Davis (as), Jimmy Forrest (ts), Mal Waldron (p), Wyatt Ruther (b), Art Taylor (dm), Tommy Lopez (cga). Five titles were recorded for Bethlehem, but no altosax soli.

LEM DAVIS unknown loc. 1962-63 Lem Davis (as), unknown (ts), (org), (b), (dm), female/male (voices). Two titles were recorded for Pattern 103:

Hot Chocolate No solo. (M) Lem Told Beethoven Solo/straight 32 bars. (S)

This rare record was recently brought to my attention. While “… Chocolate” has nothing of interest, “Lem …” is a very nice signature and goodbye item, not exactly jazzy but with some fine, clean, beautiful, commercially oriented altosax. 10

No further recording sessions.

…ooo…