The Atlantic Jazz series continues with this slice of mostly '60s jazz-soul treats. Fittingly, the 11-track disc includes a side by one of the prime progenitors of soul, Ray Charles: He and MJQ vibraphonist, Milt Jackson, stretch out on the canonized "How Long Blues." Further expounding on the soul-jazz trajectory, the collection spotlights work by organist Shirley Scott (the Aretha Franklin hit "Think"), Les McCann and Eddie Harris (their classic Montreux Festival cut "Compared to What"), Yusef Lateef ("Russell and Elliot"), and Hank Crawford ("You're the One"). And there's even a bit of boogaloo-enhanced bossa, compliments of trumpeter Nat Adderley ("Jive Samba"). The soundtrack to your next retro-cool shindig.

When Johnny Griffin and Eddie "Lockjaw" Davis entered a New York studio with producer Orrin Keepnews on May 3, 1962, they did some things that were unusual for the two-tenor team. They played mostly ballads, they didn't engage in any tenor battles and - most surprising of all - they didn't perform together on any of the tunes. Griffin was featured on four songs, Davis on another four. The same rhythm section - Horace Parlan, bassist Buddy Catlett and drummer Art Taylor - was always present, but Parlan played piano on the songs featuring Griffin and celeste on the songs featuring Davis. For whatever reason, the performances remained in the can for 42 years; they weren't even mastered until 1966, and they finally saw the light of day when Fantasy released Pisces in 2004…

Avid Jazz continues with its Four Classic Album series with a re-mastered 2CD release from Johnny Griffin & Eddie “Lockjaw” Davis, complete with original artwork, liner notes and personnel details. “Tough Tenors”; “Lookin’ At Monk”; “Blues Up And Down” and “Griff & Lock”.
Two tough tenors, indeed! These two titans of the tenor sax both had wildly prolific careers but somehow found the time to come together as a hard blowing unit from 1960-1962. Discovering they had compatible styles on their chosen tenors the pair decided to form their famous quintet where you will hear, rather than perhaps the expected cutting sessions, their styles perfectly complimenting each other…

Johnny Griffin, known as the world's fastest tenor-saxophonist in the late 1950's, purposely slowed down a bit on some of his later Riverside albums including this set which was reissued on a 1998 CD. Griffin is joined by pianist Buddy Montgomery (who switches to vibes on two of the six numbers), bassist Monk Montgomery (heard in a rare outing on acoustic bass) and drummer Art Taylor. They perform four standards (including "The Midnight Sun Will Never Set" and "That's All") and a couple of Griffin's basic originals. The music swings and the classic tenorman cuts loose a few times, making for enjoyable if not quite essential music.

Johnny Griffin and Eddie "Lockjaw" Davis locked horns and raised a little hell during this exciting blowing session that took place at the Café Montmartre in Copenhagen on July 10, 1984. They were aided and abetted by pianist Harry Pickens, bassist Curtis Lundy, and drummer Kenny Washington - the same rhythm section that had performed with Griff at the Berlin Friedrichstadtpalast nearly a month earlier. The original "Tough Tenors" formula dates back to the early '60s when Griff and Jaws collaborated on a series of definitive, mainstream two-tenor albums. This live reunion date is a marvel of spontaneous combustion; the horns cavort and jostle, barking and purling with joyous abandon.

This fine 1993 release finds Griffin's in the company of such stellar guest soloists as trombonist Steve Turre, tuba player Dave Bargeron, and French horn player John Clark; the band's core is made up by Griffin's then regular quartet featuring pianist Michael Weiss, bassist Peter Washington, and drummer Kenny Washington. This supple but tight ensemble ably handle Griffin's rich store of seven originals and a cover of Cole Porter's "All Through the Night."

Johnny Griffin recorded this studio album during his first visit to the United States in 15 years. Accompanied by a very supportive trio (pianist Ronnie Mathews, bassist Ray Drummond and drummer Keith Copeland), the great tenor is in frequently exuberant form on such tunes as "Autumn Leaves," his own "A Monk's Dream" and the funky "The Way It Is." Long one of the underrated masters, Johnny Griffin is heard at the peak of his powers on this modern bop session.

One of the all-time great tenor saxophonists, Johnny Griffin will go down in the annals of jazz as a performer easily able to negotiate the tricky harmonic changes and swift tempos of modern music. He'll also be remembered as a player who could masterfully interpret tender ballads, rivaling Ben Webster in that regard.

This album is very much the kid brother of records like Sonny Rollins' Newk's Time, where the presence of a pianist and bassist was almost incidental to the heated interplay between Rollins and drummer Philly Joe Jones. On this record, the drum chair is filled by the great Kenny Clarke, and he is in crackling form throughout this album, really driving Griffin to some creative work. Pianist Francy Boland, the co-leader with Clarke of Europe's fantastic Clarke-Boland Big Band, largely gets out of the way, comping minimally and turning in an occasional rolling, rhythmic solo. Despite being made in the mid-60s, the album refreshingly ignores Coltrane-isms in favour of a sort of Ornette Coleman-influenced hard bop of the type Jackie McLean was recording at the time…

This formerly obscure quartet set by tenor-saxophonist Johnny Griffin (reissued on CD in the OJC series) features the fiery soloist on five little-known originals written by Chicagoans plus a burning version of "Cherokee." Virtually all of Griffin's recordings are worth getting and, with the assistance of pianist Kenny Drew, bassist Wilbur Ware and drummer Philly Joe Jones, the tenor is in superior form for this spirited date.

A Blowin' Session is one of the greatest hard bop jam sessions ever recorded; it is filled with infectious passion and camaraderie. It's also the only time tenor saxophonists Johnny Griffin and John Coltrane would play together on record. Initially Coltrane wasn't scheduled to be on this date, but Griffin saw him on his way to Rudy Van Gelder's studio and asked him to join the remaining musicians, third tenor Hank Mobley, trumpeter Lee Morgan, pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey. These musicians were all associates within the same East Coast hard bop scene of the time; they came from the Jazz Messengers and Miles Davis' quintet, and many had played with Dizzy Gillespie's big band…

Many straight-ahead bop musicians would never consider recording traditional folk songs from the British Isles, but that's exactly what Johnny Griffin does on The Kerry Dancers and Other Swinging Folk - and this Orrin Keepnews-produced album just happens to be one of his best releases of the 1960s. Joined by pianist Barry Harris, bassist Ron Carter, and drummer Ben Riley, the big-toned Chicago tenor man turns his attention to four traditional folk melodies: "The Londonderry Air" (also known as "Danny Boy"), "Green Grow the Rushes" (a Scottish favorite), "The Kerry Dancers" (an Irish piece), and "Black Is the Color of My True Love's Hair" - all of which work perfectly well in an acoustic jazz setting…

A bit of an offbeat session for tenor saxophonist Johnny Griffin, The Little Giant features three originals by then-obscure pianist Norman Simmons, a reworking of the pop tune "Playmates," Babs Gonzalez's "Lonely One," and the tenorist's "63rd Street Theme." Simmons' arrangements for the three horns (which include trumpeter Blue Mitchell and trombonist Julian Priester) are colorful; the rhythm section (pianist Wynton Kelly, bassist Sam Jones, and drummer Albert "Tootie" Heath) is state of the art for the period, and Griffin (who is featured in a trio with Jones and Heath on "Lonely One") is in fine form. An interesting set of obscure straight-ahead jazz.