There may be many differences between two jazz horn players with nearly identical names. Charlie Davis takes on trumpet; Charles Davis blows a variety of reed tools, but is most beneficial known on baritone saxophone. That is just the start of the facts that produce their careers therefore contrasting. If an archive collector developed a jazz section offering just information that feature among this Davis set, it would be a top quality and surprisingly varied assemblage, also spilling over in to the pop part from the counter because of the studio room session activities from the trumpeter. That might be another from the variations between both of these players: the saxophonist offers made a lot more records compared to the trumpeter, but just occasionally performs on the recording that’s anything apart from pure, completely commercially undiluted jazz. In line with the Western Coastline, Charlie Davis is wearing the other hands become involved inside a potpourri of studio room calls, turning up on recordings by English folk-rockers, spirit and disco performers, and New Orleans rockers. He offers performed on gospel and symphony times and by the middle-’90s was the trumpeter to contact if Tag Isham had been busy. With regards to the sort of jazz described previously, the trumpeter’s creative peak could very well be his involvement using the reinvigorated Woody Herman music group of the first ’70s. Like many talented Western Coast music artists, he also spent a while squinting in the charts within the big rings of Stan Kenton. Affiliations with contemporary iconoclasts such as for example Sunlight Ra, Cecil Taylor, and Steve Lacy would all become for Charles Davis the saxophonist; alternatively, Kenton represents about as significantly out because the trumpeter offers gotten, aside from maybe an appearance using the studio room hotshot blowing music group Flim & the BB’s. One genre that both Charlie Davis and Charles Davis talk about a pastime in is definitely Latin.