Videos: Wild Bill Davis + Duke

Earlier this week, I posted on the tasty genius of organ pioneer Wild Bill Davis. Here are two videos featuring Davis, both with Duke Ellington. On one, he joins the band on Satin Doll. On the other, you get to hear what April in Paris might have sounded like had he made it to the 1955 Count Basie recording session for Verve:

Here’s Davis’s first recording of Ellington-Strayhorn’s Satin Doll in 1959 backed by George Clarke (ts) Bill Jennings (g) and Grady Tate (d)…

Here’s Davis with Ellington on Satin Doll—twice in 1969…

Here’s Davis’s recording of April in Paris at New York’s Birdland in 1954, with his “one more time” sequence at the end that Basie picked up when using Davis’s arrangement in 1955…

Here’s Davis with Duke Ellington in Berlin in 1969 performing April in Paris

And here’s the famed Basie recording of April in Paris in 1955…

Wild Bill Davis & Johnny Hodges

Before Jimmy Smith, Shirley Scott, Big John Patton, Jimmy McGriff, Brother Jack McDuff, Groove Holmes and all the other dynamic organists of the late 1950s and ’60s, there was Wild Bill Davis. Born in Missouri, Davis started his recording career in 1945 as organist and arranger for Louis Jordan and His Tympani Five, a leading rhythm-and-blues pioneer. When Davis left Jordan in 1951, he led a trio and began recording for Okeh. Perhaps his best known recording during that period was April in Paris in 1953. Davis was supposed to record the song with Count Basie’s Orchestra in 1955 for Verve, but when he couldn’t make it, Basie used Davis’s arrangement for his big band and had a huge hit with the recording. Duke Ellington also favored Davis, recording with him for the first time in 1951.

Over the years, Davis recorded frequently with tough tenor saxophonists such as Eddie “Lockjaw” Davis, Arnett Cobb, Buddy Tate, Paul Gonsalves, Sonny Stitt and others. But despite his fondness for the tenor-sax, Davis most often recorded with Johnny Hodges, Duke Ellington’s romantic alto saxophonist. In all, Davis and Hodges recorded nine album—Blue Hodge (1961), Sandy’s Gone (1963), Mess of Blues (1963), Blue Rabbit (1964), Wings and Things (1964), Joe’s Blues (1965), Blue Pyramid (1965), Con Soul and Sax (1965) and In Atlantic City (1966).

It’s tough to pick a favorite, but a contender for me would be Joe’s Blues (Verve). The band featured Lawrence Brown (tb), Johnny Hodges (as), Wild Bill Davis (org), Grant Green (g), Bob Bushnell and Bob Cranshaw (b) and Grady Tate (d). The addition here of Brown and Green binds the sweet high register of Hodges’ alto sax to Davis’s wide, swinging organ, and you can hear them feeding off of each other as songs progress.

The tracks are Davis’s Joe’s Blues, I’ll Walk Alone, Harmony in Harlem, Warm Valley, Hodges’s Wild Bill Blues, Somebody Loves Me, Solitude and Clementine.

There’s a solid lineup of Strayhorn and Ellington compositions (four in all) as well as standards and several soulful blues. Most of all, Davis’s organ is so unbelievably tasty. Unlike many other players, he used the instrument like a big band—creating sections on the keyboard that delivered call-and-response patterns, hooks, riffs and all the tricks of bands in the swing and R&B eras. If you love the jazz-soul organ, this is the place to start.

Wild Bill Davis died in 1995 and Johnny Hodges died in 1970.

JazzWax tracks: You’ll find Joe’s Blues here on CD.

JazzWax clips: Here’s the title track, Joe’s Blues

And here’s Wild Bill Blues…

Note to Verve and other record labels: It’s probably time to issue a “Complete Wild Bill Davis and Johnny Hodges” set.