This UK label has absolutely no shame!! And that’s the beauty of Avid Records; they release material that other labels are afraid to throw out to the public. Because of their moxie, we get to get either reunited with or introduced to artists that deserve a second, third and fourth look.
Guitarist Lonnie Johnson is best known for his classic duets with Eddie Lang back in the 30s, but he didn’t fall off the face of the earth after that and a brief stint with Duke Ellington. He delved into the blues, sometimes plugging in and other times going acoustic, as these albums from 60-61 demonstrate. A quartet from March of ’60 has Johnson ni a quartet that includes tenor saxist Hal Singer, and the team gets down and dirty for some gulty pleasures as Johnson picks and sings on “No Love For Sale” and “Big Leg Woman.” A month later, he teams up in trio with guitarist Elmer 
Snowden and bassist Wendell Marshall for some intimate and casual reads of “Memories of You,” “St. Louis Blues’ and “Jelly Roll Baker.” At the end of the year he got his most cozy yet, going solo as he delivers a gentle “Summertime” and is stark as he sings with gentility on the unaccompanied “New Orleans Blues.” The next year he teams up with vocalist Victoria Spivey and pianist Cliff Jackson for a pair of duets on “Long Time Blues” and “Idle Hours” while Spivey lets it out on “I Got The Blues So Bad.” Lazy shades of blue.
Judging by these four albums, you could make a pretty good argument that John Lee Hooker is one of the most influential artists for rock and roll. The tracks from 1952-55 have Hooker’s voice and dangerously fuzzy guitar producing swampy riffs on “Dimples,” “Boogie Chillun” and “Crawlin’ King Snake” that spawned imitators like The 
Doors, The Rolling Stones and Creedence Clearwater Revival. His voice is ominous, and his guitar even more so on “I’m A Stranger” and “Run On.” The topics are all the classics of booze, broads and bucks, but he makes it work, as on “I Don’t Want Your Money.” Fast forward to 1961, and the Chicago session has Hooker with Joe Hunter on piano and a two sax team for vintage pieces like “ Boom Boom” and “Thelma.” Dark shadows of sound!
Brenda Lee is sadly ignored these days. She was one of the early “crossover” artists who appealed to pop, country and even swing fans. Her voice had a dash of Patsy Cline, and included a snarl that was as searing as any bopping trumpeter. These albums from 60-62 have her with big name studio artists like Floyd Cramer/p, Boots Randolph/sax and Hank Garland/g. You’ll hear her define the pre-Beatle era with irresistible hits like “I’m Sorry,” “Dum Dum” and “Fool No. 1”, but that’s just a part of her. She was an unabashedly hard swinger, and she could growl with the best as on “ Hallelujah I Love Him So,” and “Kansas City.” She also knew how to light a torch, as shown on “You Can Depend On Me” where she drips with longing. You’ll gonna be surprised how much you’ll like this, and with Randolph blowing on tunes like “Speak To Me,” it’s hard to turn down.
Pianist Herbie Nichols is undeservedly completely forgotten these days. His problem was that he was even more eccentric than his major influence, Thelonious Monk, as he added dashes of classical touches and cerebral themes.Teamed with a short recording career and a life that was cut too short by leukemia in in 1963, this material is almost all there is, and there’s a lot to like in his premier 1955 trio sessions with Art Blakey/dr and Al McKibbon /b. The music is cerebrally pulsed on “Step Tempest” and he definitely shows his chops on “2300 Skiddoo” while his writing skills are evident on “Amoeba’s Dance.” Teddy Kotick/b and Max Roach/dr team up with Nichols on half of the tracks for a ’56 session that includes the first trio as well. The sounds from “Query” and “Mine” are clever, intelligent and swinging. The 1957 trio with George Duvivier/b and Danny Richman/dr has him interpreting a couple standars, with”All The Way” quite impressive in delivery, while “Love, Gloom, Cash, Love” is a wonder of style. Check this guy out.
One note; that’s all you need to identify alto saxist Earl Bostic, who was THE R&B horn player of his era. He could deliver a gruff and growling sound that would send shivers up your spine. These sessions form the 50s include the definitive version of “Harlem Nocturne” that howls in the night. He also knew how to put the soul in standards, swinging hard on “ Lover Come Back To Me’ or “Where Or When.” John Coltrane is even found as a sideman on “Ain’t Misbehavin’” while Stanley Turrentine, Tommy Turrentine and Blue Mitchell/tp are on hand for some greasy kid stuff on “Melancholy Serenade,” Poeme” and “Off Shore.” West Coast Cool artists Barney Kessel/g, Larry Bunker/vib, John Coles/tp and Benny Golson/ts join in for some swinging “Where Or When” and “I Hear A Rhapsody.” His sax sears through the sky on “Sentimental Journey” and “Stairway to the Stars.” All of the songs are short and sweet, just made for the juke box at the local pool hall. You’ll definitely create a mood with Bostic at the helm. Both inspiring and intimidating in the same song. WHEW!