The latest cache of releases from UK-based Avid Records focuses on some wonderful West Coast sounds, modern tones and a different type of “West” music..
There are essentially three phases to Chet Baker: the West Coast Cool trumpeter, the soft toned vocalist and the desultory veteran. These four albums find him at the apotheosis of his highly influential and popular singing years. From 1955, Baker sings and plays the horn with his quartet of Russ Freeman/p, Red Mitchell/b and augmented with Bud Shank’s 
flute as well as with some gorgeous string accompaniment. His sensitive horn and voice are definitive on “Let’s Get Lost” and “Long Ago and Far Away,” defining ‘50s California jazz. The highly influential Chet Baker Sings also combines gorgeous horn and voice with Freeman and company as the leader coos “Time After Time” and “My Funny Valentine.” 
From 1958, Baker joins with Kenny Drew/p, Sam Jones/b and Philly Joe Jones/dr (among others) and carefully balances the easygoing feel of “My Heart Stood Still” and “I’m Old Fashioned” with a bit of muscle as on “Old Devil Moon.” Baker finally teams up with Len Mercer and his orchestra for a gorgeously desultory “Angel Eyes” and “Goodbye” showing a more shadowed side of life in La La Land. Essential sounds and moods.
While we’re on the topic of West Coast Cool jazz, baritone saxist Gerry Mulligan was Baker’s partner during those highly influential days, with his own albums of the era highly significant in their own right. 1955 had Mulligan leading a hip sextet with Jon Eardley/tp, Bob Brookmeyer/vtb and Zoot Sims/ts and the team swings delightfully on Mulligan’s charts of “Broadway,” “The Lady is a Tramp” and his own sleek “Bernie’s Tune.” The same band does some hip work on Ellingtonia, “Makin’ Whoopie” and “Westward Walk” on the subsequent album, with the final album of the band as sharp and polished as fins on a ’59 Caddie on “Lollypop” and “Igloo.” An album from the next year focuses on Geru’s own material, ranging from the famously influential “Venus de Milo” to the snappy “Crazy Day” that is as comfy as Bass Weejuns. A warm breeze of music.
Best known for his stint as the glassy toned pianist during Miles Davis’ “First Classic Quintet,” Red Garland also put out some impressive material on his nights off. His ’56 debut has him with stablemates Art Taylor/dr and Paul Chambers/b. The pianist is classy on “My Romance” while showing some swinging muscles on “What is the Thing Called Love?”. Garland then hit the studios big time in 1957, again with the same trio on Groovy and swinging on “C-Jam Blues” and glistening with both hands on “Will You Be Mine?” and “Willow Weep For Me.” Released in 1958, Garland’s trio is bluesy on “Summertime” and “Stormy Weather” while reflective and dreamy on “’Tis Autumn.” Garland brings in John Coltrane/ts and bopper Donald Byrd/tp for a vintage jam sessions, with everyone stretching out on the 20 minute “All Mornin’ Long” and Byrd incendiary on the bopping “Our Delight.” Mainstream at its most flowing.
Trumpeter Don Ellis produced some of the most creative and revolutionary sounds during his career, honing his skills with Charlie Barnet, Maynard Ferguson, George Russell and Charles Mingus. His 1960 debut How Time Passis has him pushing the small group mainstream jazz to burst at its seams with Jaki Byard/p-as, Ron Carter/b, and Charles Persip/dr. You get the team really stretching out in more ways than one on the 22 minutes “Improvisational Suite #1” with Ellis’ unique tone on display on “How Time Passes” and “Sallie.” With vibist Al Francis joining in, the team goes free and loose on “Solo” with the leader sitting in on piano on “Tragedy.” Real uniquesounds and moods on material such as “Uh-Huh” and “Cock and Bull.” 1962’s Essence is a real treat, with Ellis mixing it up with Paul Bley/p, Gary Peacock/b and Nick Martinis-Gene Stone/dr. Ellis’ tone and stylings breath fresh air into “Johnny Come Lately” and a clever “Angel Eyes” while Carla Bley’s “Wrong Key Donkey” gets a nice debut. Simply original and still fresh sounding after half a century.
In these days of Country and Western, it’s hard to remember that once upon a time there was a musical category simply called “Western.” Marty Robbins was one of the creators of it, and these four albums show how to swing in the prairie. His warm and homespun voice is charming and disarming on 1958’s self titled album, featuring the hit “Kaw-Liga.” But, it’s the pair of Gunfighter Albums and Trail Songs that put Robbins’ name on the map, as he introduced the world to timeless pieces such as “El Paso, ” “Big Iron” the traditional “The Streets of Laredo” and the dreamy “Cool Water.” His 1961 Sentimental album has his shooting for the pop chards with “Unchained Melody” and “Too Young,” taking a night off from the ranch. A vintage style that is unfortunately forgotten these days.