Retrieved from the vaults by Real Gone Music, and sold as a 2024 limited edition Black Friday Record Store Day release, Jesse Ed Davis’, Tomorrow May Not Be Your Day is a long over due musical revelation. A recent biography, an exhibit at the Bob Dylan Center, and archival releases have initiated a much needed reassessment of the highly underrated Native American guitarist and songwriter.

The Record Store Day release sold out quickly, but thankfully has been made available to a wider audience via a standard edition compact disc release. With an investigative eye on all of his ATCO work, this release assembles gems from his studio sessions and the music that didn’t make it on to his first two solo records into a cohesive whole. From exotic covers to unreleased songs, alternate takes, and unheard segments of Jesse Ed Davis’ unparalleled guitar playing. the set is a testament to the quality of Davis’ material and the depths of his country, blues, rockabilly, and R and B influences.

Jesse Ed Davis was born in Norman, Oklahoma on September 21, 1944 as a citizen of the Comanche Nation. He picked up the guitar at a very young age and spent his youth watching and learning from the rockabilly bands that came through Tulsa and into the surrounding areas, including Ronnie Hawkins and the Hawks, and Conway Twitty who Davis would soon catch on with playing guitar. Before too long he made a name for himself, worked his way up the ranks, and found himself sitting in the guitar chair for Taj Mahal, playing lead on his first four recordings.

In 1970, Davis signed with ATCO Records and prepared to make the first of two stellar solo records; 1971’s ¡ Jesse Davis ! and 1972’s Ululu for the label. Tomorrow May Not Be Your Day is a beautiful peek behind the glass during the development of those albums and acts as a well assembled addendum.

A wealth of material was collected by Davis’ biographer Douglas Miller, Gordon Anderson, and Mike Johnson that provides a priceless alternative view into this esoteric artist. Sourced from the original analog multitrack tapes, the sonics are stunning and the detail of the instruments is ineffable.

Davis’ guitar work is overtly expressive, its wound tight without being overblown, effortlessly melodic, and instantly recognizable. His slide work, moves like mercury, and shines like gold and even inspired Duane Allman to try his hand at playing in the same style. It’s no wonder that Davis’ his solo career gave rise to his later contributions on albums by Gene Clark (he produced 1971’s White Light) George Harrison, John Lennon, Ringo Starr, Jackson Browne, Rod Stewart, Steve Miller, Harry Nilsson, and others … the list is endless.

The collection opens with the title track, written by Taj Mahal, and recorded on June 24, 1970 the song is essentially the beginning of Davis’ solo career. A celebratory jam with big backing singers and an original country soul groove the unreleased track is an addictive lead off. While Davis wasn’t known for his voice, his earnest tone and natural approach was more than enough to serve his musical wishes as illustrated on this cut.

While the alternative versions of album tracks like”Rock and Roll Gypsies,” and “Every Night Is Saturday Night,” are fascinating and welcome, its the unreleased instrumental jams are where the real objet d’art can be found.

“Kansas City,” from a fall 1970 jam at Record Plant, is a grinding boogie with starry slide work as the centerpiece. The instrumental take on Bob Dylan’s “Love Minus Zero/No Limit” equates to a version that only Davis could pull off. It’s only when you begin to wonder where the instrumental is going that Davis smoothly solves the equation with a perfect quote of the melody line.

The cover of Smokey Robinson’s “The Tracks of my Tears,” is mystical. The combination of Davis’ vocal reach and his weeping Telecaster tone make for a stunning discovery.

The “Slinky Jam,” and “Qualified,” instrumentals from January and June 1971 respectively are worthy of discussion. “Slinky,” reminds me of one of those pulsing all star jams on the second half of George Harrison’s All Thing Must Pass LP. Davis burns with searing, yet succinct lines and a tone that has deckled edges but rings with clarity. “Qualified,” would appear on Dr. John’s 1973 LP In the Right Place in a bombastic rendition. Here, its played (Dr. John on piano) with a patient yet bluesy approach, obviously unfinished, but with such a humid groove that its hard to resist.

A special series of “work in progress” glimpses into the development of Davis’ opus “Washita Love Child,” is curated perfectly. Each version revealing a new musical approach to be navigated and conquered. The final version of four is a 1971 take that is similar to the official release, but includes a pounding drum prelude and a collaborative tribal chant that leads into the song proper. This alternative take includes musical contributions from Eric Clapton who also appeared on the officially released version.

A bar room romp through “Aint No Beatle,” a 1965 single by Gary Sanders (written by J.J Cale, Tommy Garrett, Leon Russell, Gary Sanders) is the perfect Jesse Ed Cut, funny, funky, and played with spirit and dirty words. The slide work on this side eyed “tribute” to the Brits is dirty enough to make the queen clench her pearls.

One of two Van Morrison cuts in the collection, Davis’ interpretation of “Caravan,” is a party in the central square. His sprightly fret work and finite feel searches out all detail in Van the Man’s nuanced melody line and expresses it through an intricate recall.

In what would manifest as “Golden Sun Goddess” on Davis’ first solo record, this formative “Pat’s Song,” is crystalline; an extended stroll trough breakers and warm beams. Davis’s circular acoustic lick rolls over and over itself letting the electric piano dot the horizon with color. With a vibe unlike anything else on the set, the song goes exactly where it wants to go in its own time, a testament to its inspired creation.

The set closes with an instrumental attempt at the title track of Jesse Ed Davis’ 1972 LP Ululu. While its strange to hear the song with out the layered vocals, the rhythm track is just so joyous that it elicits a special poignancy in concluding the set.

It’s a reward to able to collect these disparate bits and parts of Jesse Ed Davis’ musical journey. By doing so, and filling in his extended discography we develop a larger understanding of his life, strings, and songbook. Multifaceted as a player and composer, Jesse Ed Davis was a man who impressed his era’s best musical minds with his humor, talent, and tone. In his search for his own song, he left behind a wealth of material that even in an unfinished or unrealized state is unbelievable to listen to.