Tomorrow May Not Be Your Day: The Unissued Atco Recordings 1970-1971

In 2017, Real Gone Music reissued guitarist Jesse Ed Davis first two albums -- his eponymous debut and Ululu -- as Red Dirt Boogie: The Atco Recordings 1970-1972. It drew press notice partly because Davis was so prominently featured in that years award-winning documentary Rumble: The Indians Who Rocked the World by directors Catherine Bainbridge and Alfonso Maiorana. It re-centered attention on his three fine studio albums, including 1973s Keep Me Comin from Epic. Real Gone Music steps in again with this rarities collection. It contains 17 unissued performances including songs, alternates and outtakes recorded during sessions for his first two albums. It loosely coincides with the Liveright publication of Douglas K. Millers excellent biography Washita Love Child: The Rise of Indigenous Rock Star Jesse Ed Davis with a foreword by indigenous poet and activist Joy Harjo. This is not a scraping-the-bottom-of-the-barrel compilation of leftovers. Miller carefully curated and produced the collection; he also wrote its liner notes and solicited rare photographs from Davis son, William "Billy" Noriega. The opening title cut is Daviss own electrifying unreleased version of the Taj Mahal original he played on from 1971s Happy To Be Just Like I Am. The chord changes are ringing, overdubbed electric guitars--they were later borrowed by Jackson Browne for "Running On Empty." Its likely Davis wouldnt mind; after all, thats his guitar solo you hear on Brownes first hit, "Doctor My Eyes." Its a choogling rocker with a soulful melody delivered in his light, airy baritone with a chorus of backing singers including Merry Clayton, Clydie King and Vanetta Field. Next up is an unreleased alternate of Van Morrisons "Crazy Love," the closing track on Davis eponymous debut. This version is rootsier, folksier, and raggedly intimate. Its followed by four tracks that make up the heart of the collection. Davis played on songwriter Roger Tillotsons "Rock & Roll Gypsies"; he liked it so much he recorded a late-night singalong version. Next up is a reading of Smokey Robinsons "Tracks of My Tears." While Davis voice doesnt equal the material, his backing singers and a psychedelic sitar deliver it with compelling emotion. "Every Night Is Saturday Night" and "Love Minus Zero" (not Dylans) are choogling, Hammond B-3 blues with killer slide work by Davis. There are three takes of "Washita Love Child" included: two are excellent, slightly altered instrumentals and the third is a finished vocal version. Its Davis personal manifesto rendered via roots rock. The guitarist loved Van Morrison, and delivers an inspiring instrumental version of "Caravan" rendered with a gospel groove and poignant soloing. "Pats Song," is a dazzling, 11-minute journey into jazz via Davis innovative acoustic playing cutting across swing, and bossa nova. The set concludes with a raw, unreleased take of scorching rocker "Ululu." Tomorrow May Not Be Your Day: The Unissued Atco Recordings 1970-1971 delivers everything youd want from a rarities set: Great sound and performances, excellent sequencing, killer notes, and another step into the mystery and mythology of Davis. ~ Thom Jurek