This past year UK-based Avid Records has stretched out a bit, going beyond mainstream jazz into various tributaries. Here, we have material that is both in the tradition and while not strictly jazz, still important in terms of musicality.
At one time, folk music was the cutting edge of American pop music. People and groups like 
the Limeliters, Peter, Paul and Mary and a guy named Bob Dylan were on the vanguard of mixing traditional sounds with current “protest” themes. Among the most important was Joan Baez, who had an alarmingly crystal clear voice that rang like a bell while delivering deep and penetrating themes and messages. Her initial material from 1959 has her focusing on songs from the Public Domain like “Sail Away Ladies” and the haunting “Black is the Color.” Her two “Joan Baez” albums occasionally feature her with guitarist Fred Hellerman on pieces like “Little Moses” and “All My Trials” while the Greenbriar Boys add vocals on the thoughtful “Pal of Mine.” Most famous is her In Concert album from 1962 where she delivers a stunning “Babe, I’m Gonna Leave You” as well as the famous/infamous “Kumbaya.” Too bad she never did a jazz album, as her voice is unforgettably unique.
Jimmy Reed is one of the most influential blues guitarists and vocalists in terms of setting the tone for modern rock and roll. These sessions from 1953-61 are essential to see how deep roots can reach. He sometimes is caught with just himself as on the 1960 Now Appearing as he mixes singing, picking and harmonica playing on “Close Together.” He can also groove on instrumentals like “Jimmy’s Rock” and “Rockin’ With Reed” as he brings in guests like “Remo Biondi/g, Earl Phillips/dr and “Lefty Bates” on the classic “Baby, What You Want Me to Do” and the rocker “I Ain’t Got You.” Irresistible, and with Phil Upchurch on bass during “Kansas City Baby,” it makes feeling bad feel good.
Eddie Sauter was one of the more adventurous arrangers for the swing era, making his name with Benny Goodman’s orchestra. He later teamed up with arranger/director Bill Finegan to create a forward-looking orchestra that today sounds like a mix of Gil Evans and Leonard Bernstein. These four albums from 1953-57 have some movie soundtrack-ish pieces like “Horseplay” and “Child’s Play” while Sonny Russo takes a creative “Old Folks” and makes it comfortable. Playful arrangements of “Avalon” and “Star Dust” are included on a 1956 album, while the ’57 Straight Down The Middle” could be confused for a Gil Evans session on “These Foolish Things.” Years ahead of the pack.
Hank Mobley is best known for his years with Miles Davis and Horace Silver before his own Blue Note albums from the 60s, but his mid 50s sessions are nothing to sneeze at. He teams up in ‘6 with Donald Byrd/tp, Ronnie Ball/p, Doug Watkins/b and Kenny Clarke/dr for a nice toe tapping session including “There’ll Never Be Another You’ While Jackie McLean joins in with Barry Harris for a bopping session a few months later on”Bouncing With Bud” and “52nd Street Theme.” With Kenny Dorham/tp, Mobley glides through “These are Things I Love” a week later, and in the same year with Lee Morgan and Hank Jones bears down on “Thad’s Blues” and “Doug’s Minor B’Ok.” A treat for hard bop fans!