Dig that hard, obvious tone… the ugly, distinctly-metal mouthpieced tone… moves fast, goes where it wants, goes when it wants… not a “sensitive” (in the worst sense of the word) tone at all….
Even the flute is hard, dominant, bold… so seemingly different than “modern” jazz… Shirley Scott doesn’t give a shit, Lockjaw doesn’t… and hoo..!, what a considered cacophony they produce in that indifference….
“The Chef” doesn’t give a shit… it just goes…. Go with it! Concert C never sounded so dominant…. Me, I want music that doesn’t wait for me to catch up, players that are indifferent as to my reception of what they do….
Even “stardust,” the old, old standard, sounds like it begins in medias res, as all epics do… Lockjaw’s all “you know the melody, now catch up, motherfuckers…Jesus, do I have all day…?” Music… art, that respects its audience enough to never condescend… what a world that suggests…. Dig the dominantly defiant tenor’s final Bb (concert Ab) that ‘Jaw waves in your face… Johnny Griffin was right, Lockjaw played more for sound than for notes…! Dig his manifesto…!
“But Beautiful,” we’ll start with organ, but just to allow for maximum impact for the tone-up, metal-mouthpieced, narrow chamber, light reed sounds galore…! Listen and understand why this was the title of the book….
“My Old Flame,” starts slow, laid back, celebratory, bittersweet, like a Rico reed tasting like lime and salt… at 0:54 we wind down down in triplets, laiiiiiid back… like James Carter and his plastic-coated reeds 40 years early… contemplative, jocular, even about that old Love that you’d forgotten about…. Flute at 3:33 making itself known, however silently….
Dig the stand up bass in concert Bb: “I’m Just a Lucky So and So” has begun, reverbed-to-hell-and-back licks in Bb, the Key of the Tenor… taking its time, just lying there, enjoying sentience… and make no mistake, it’s aliiiiiiive, motherfucker….