Johnny Griffin & Eddie "Lockjaw" Davis - Willow Weep For Me (1962)

When Johnny Griffin and Eddie "Lockjaw" Davis entered a New York studio with producer Orrin Keepnews on May 3, 1962, they did some things that were unusual for the two-tenor team. They played mostly ballads, they didn't engage in any tenor battles and — most surprising of all — they didn't perform together on any of the tunes. Griffin was featured on four songs, Davis on another four. The same rhythm section — Horace Parlan, bassist Buddy Catlett and drummer Art Taylor — was always present, but Parlan played piano on the songs featuring Griffin and celeste on the songs featuring Davis. For whatever reason, the performances remained in the can for 42 years; they weren't even mastered until 1966, and they finally saw the light of day when Fantasy released Pisces in 2004.

"Willow Weep for Me" is a popular song composed in 1932 by Ann Ronell, who also wrote the lyrics. The song form is AABA and it is written in 4/4 time. It is mostly known as a jazz standard, having been recorded first by Ted Fio Rito (with vocal by Muzzy Marcellino) in October 1932 and by Paul Whiteman (with vocal by Irene Taylor) the following month. Both were hits in December 1932. It was a Top 40 hit for the British duo Chad & Jeremy in 1964; the song was released on their Yesterday's Gone album and reached No. 15 on the Billboard Hot 100 and No. 1 on the Adult Contemporary chart.

One account of the inspiration for the song is that, during her time at Radcliffe College, Ronell "had been struck by the loveliness of the willow trees on campus, and this simple observation became the subject of an intricate song". The song was not initially accepted by publishers, for several reasons. First, the song is dedicated to George Gershwin; a dedication to another writer was disapproved of at the time, so the first person presented with the song for publication, Saul Bornstein, passed it to Irving Berlin, who chose to accept it. Other reasons stated for its slow acceptance are that it was written by a woman and that its construction was unusually complex for a composition that was targeted at a commercial audience (i.e. radio broadcast, record sales and sheet music sales). An implied tempo change in the fifth bar, a result of a switch from the two quavers and a quaver triplet opening in each of the first four bars to just four quavers opening the fifth, then back to two quavers and a quaver triplet opening the sixth bar, which then has a more offset longer note than any of the previous bars, was one cause of Bornstein's concern. Notable recordings continued from the early 1950s, following the success of Stan Kenton's 1950 release (with vocal by June Christy) of the song.

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