A Tribute to George Davis

 A Tribute to George Davis

The late, highly talented multi-instrumentalist and songwriter George Davis (1938-2008) was one of the key figures in the development of the distinctive New Orleans funky guitar sound in the 1960s. Slightly older than two of the other great progenitors of the style, Davis’ sound is clearly present in the playing of both Leo Nocentelli of Meters fame and Walter “Wolfman” Washington, whose early recordings include the inescapably funky rhythm parts to Eddie Bo’s “Hook and Sling” (1969). The hollow body guitar tone, tight, clipped right hand rhythms, dynamic use of sixths, double stops and single note parts and riffs, along with soulful, intricate lines are present in the myriad of recordings Davis played on as a session man throughout the 60s and are an essential component of the unmistakable sound that defines New Orleans soul of the era. Davis wrote, arranged and played on records by Aaron Neville (for whom he co-wrote “Tell It Like It Is”), Robert Parker, Earl King (with whom he played bass on the classic “Come On”), Ernie K-Doe, Willie “Tee” Turbinton, the lesser-known, but equally wonderful talent Alvin Robinson, also did sessions for Allen Toussaint, Cosimo Matassa, and gigged and recorded with virtually everyone in New Orleans during that era, appearing on singles on such seminal New Orleans labels such as Minit, NOLA and Instant.

Davis is all over Robert Parker’s big hit “Barefootin’” (rec. 1965), weaving funky staccato lines, bluesy call and response, straight rhythm playing, along with connecting fills that bring the song to life.

Davis released only one single under his own name on his own label, Parlo records, the sophisticated groover “Hold On, Help Is On Its Way” in 1966. Davis shows off some Montgomery-esque octaves in a display of elegant intensity. 

Davis also recorded with two of the seminal drummers of New Orleans groove “Gentleman” June Gardner and Smokey Johnson. The sessions with Johnson produced some of the quintessential funky instrumentals, genre and era-defining sounds that put the city’s seemingly bottomless well of talent and soul on full display. “It Ain’t My Fault” (1965) and “I Can’t Help It” (1966) were originally released as two-sided singles Wardell Quezergue’s NOLA records imprint. The former is a masterpiece of laid back soulfulness, Johnson’s high hat in constant conversation with the rest of the drums. He lays down a wide pocket for Davis’ slinky solo, that’s followed by the entrance of the horns and a singing soprano sax solo, presumably played by Earl Turbinton. The more up-tempo “I Can’t Help It” also features Davis’ trick bag and Johnson’s singular approach of incorporating the the different colors of the drum set into the groove.

Davis left New Orleans for New York in 1969 and soon joined Dizzy Gillespie. He appears on two of Gillespie’s lesser known records done for the obscure Perception label: Portrait of Jenny and The Real Thing (both 1970). He also appears on (and is the highlight of) an as of yet unreleased live recording from New York’s Fillmore East from 1970 that can be heard on Paste music and is highly, highly recommended. Gillespie was evolving with the times entering the 70s, incorporating funky back beat grooves and long, laid-back Latin jams. Davis’s style and sound are a perfect component for Gillespie’s group, his resourceful, diverse comping deepens the groove with its interactions with pianist Mike Longo. Taken from Portrait of Jenny, Gillespie’s “Diddy Wah Diddy” is an extended, relaxed Latin groove that gives plenty of space for all involved--and not at all far removed from Donny Hathaway's "The Ghetto" which was released around the same time. There is no drumset on the session, the set instead replaced by a group of percussionists. From this recording, it would seem like Gillespie could have made more headway into the rock ballroom circuit had he chosen to do so and, in the process, expanded his audience, much like saxophonist Charles Lloyd did not long before. The Fillmore East recording certainly suggests as much and Davis was more than up to the task of being a guitar hero for the rock crowd when called on to do so. Gillespie gave him the space to stretch out on extended solos and we can hear his distinctive New Orleans style in the comping and soloing of “Diddy Wah Diddy”. “Timet” is a more conventional soul piece also written by Gillespie, with Davis adopting the vibrato tone used in many soul and gospel recordings of the 60s, a sound reminiscent of Pop Staples that takes us right back to his bluesy, New Orleans roots. 

Session work was plentiful for Davis as well after arriving in New York, playing guitar, flute and other instruments and his credits as a sideman are extensive. His funky rhythms, soulful solos and even psychedelic sounds elevate Sir Edward’s 1973 recording The Power of Feeling (Encounter Records) into one of the great, (almost) lost underground funky jazz records of the era. Sir Edward was actually tenor saxophonist Harold Vick who was under contract to another label, Strata East Records, at the time. The recording shows how Davis evolved with the times, incorporating effects where appropriate. His wah-wah rhythm guitar pushes Vick’s varitone and wah tenor and also creates washes of texture with the vibes and electric piano. His solo takes us to some of the familiar places of his style, the staccato picking, use of double stops, octaves and chordal soloing raise and release the intensity—a masterful display of funkiness in jazz.

The last track included here is Vick’s version the Stylistics’ 1972 hit “People Make the World Go Round” which sticks closely to the original arrangement, including a beautiful flute solo from Vick and Davis’ tasteful, though still psychedelic use of Echo-plex and reverb.

When Davis passed in 2008, a number of newspapers and blogs on the web paid tribute to him with testimonials of his generosity, talent, humanity and stature as a key figure in the development of New Orleans music. Here we have just a personal tribute to some of his best work as one of the great unsung figures whose instrumental voice added so much to the recordings on which he played and defined a sound that always found a way to celebrate his funky roots. We should all be so lucky to be able to do that as musicians.

jg

*****

1. Robert Parker- Barefootin’ (1965)

2. G. Davis and R. Tyler- Hold On, Help Is On Its Way (1966)

3. Smokey Johnson- It Ain’t My Fault (1965)

4. Smokey Johnson- I Can’t Help It (1966)

5. Dizzy Gillespie- Diddy Wah Diddy (1970)

6. Dizzy Gillespie- Timet (1970)

7. Sir Edward (Harold Vick)- Stocking Cap (1973)

8. Sir Edward (Harold Vick)- People Make the World Go Round (1973)

George Davis- guitar