Some of the most sublimely soulful sounds ever to bless your ears are presented by this latest cache of 2 cd sets by Avid. Consider yourself blessed with the chance to hear it.
While David “Fathead” Newman was best known for being (along with Hank Crawford) the sax front line for Ray Charles during the halcyon days, his own albums are impressive standing on their own. The 1958 debut has both Charles and Crawford in the band, and Newman is glorious on soulful boppers like “Tin Tin Teo” and 
“Hard Times.” Next 
year’s Straightahead has Miles Davis pianist Wynton Kelly replacing Charles, and Newman glows on “Skylark” while the band smokes during “Batista’s Groove.” In 1963, Newman mixes R&B with hard bop the likes of Charles Persip/dr and 
Marcus Belgrave/tp with a gritty “Unchain My Heart” and the chugging “Cellar Groove” before Newman closes out with a somber tribute to Billie Holiday on “Lady Day.” The ringer here is a two tenor 1960 session lead by James Clay along with boppers Wynton Kelly/p, Art Taylor/dr and Sam Jones/b, with satisfying results on a oozy “What’s New,” cozy “They Can’t Take That Away From Me” and a hip “Some Kinda Mean.” Don’t let this get away!
Lester Young is undoubtedly one of the 4 most important tenor saxists in jazz history, with his paradigm changing cool legato style leaving a collection of followers like Stan Getz in his wake. While sometimes overlooked, his post Count Basie albums are essential in their tone and lyricism. Young is frothy with Oscar Pettiford, Barney Kessel, Ray Brown and JC Heard on the dripping “Ad Lib Blues” and sighs with delight on “These Foolish Things” on the 1952 session. Young’s work with the Buddy Rich trio is simply definitive, as the two contrasting artists pull before and after the beat on a ridiculously swinging “I’ve Found a New Baby”, a swaying blueser “Back to the Land” and cooing “I Cover the Waterfront.” Pres teams with Basie alumnus Harry “Sweets” Edison for some KC swing on “One O’Clock Jump” and a hiply economic “Red Boy Blues.” Best of all is his reunion with Teddy Wilson, with every song being a masterpiece as he gasps on “All of Me,” moans on “Prisoner of Love,” and sways with delifht on “Taking a Chance on Love” and “Our Love is Here to Stay.” Simply definitive and life affirming.
Like tenor saxist Lester Young, June Christy revolutionized singing with her cool and icy vocal style. She started with Stan Kenton before stepping out on her own with these important albums. Her 1955 debut with Kenton arranger Pete Rugulo and tenor saxist Bob Cooper is a gorgeous pastel affair with moody delights such as “The Night We Called it A Day,” “Midnight Sun” and the autumnal “Something Cool.” The followup Misty Miss Christy is not far behind in quality with the same band setting a gorgeous stage for a fluffy “Day Dream” mystical “’Round Midnight” and shadowed “That’s All.” Rugulo and Cooper are still around along with West Coasters Don Fagerquist/tp, Bud Shank/as and Frank Rosolino/tb for a cozy “Give Me The Simple Life” and a moody “When The Sun Comes Out” with Christy in strong voice and emotion. Christy focuses on ballads for her 1959 session, with pastels of sound on “Bewitched,” “My Ship” and “Make Someone Happy.” Christy knew how to carry a torch and make it burn!
While the set of Jazz Organists wasn’t meant to be so, it is also a pretty good feature for some of the best tenor sax sounds around. Richard “Groove” Holmes teams with high protein tenor saxist Gene Ammons in 1961 for a smoky session the has burning embers on “Willow Weep For Me” and digs deep on “Hittin’ The Jug.” Tenorist Fred Jackson and lithe guitarist Grant Green are guest on “Baby Face” Willette’s ’61 debut, and it has the juke joint jumping on “Swingin at Sugar Ray’s” and a fun filled “Whatever Lola Wants.” Freddie Roach also enlists a tenor saxist for his debut, a 1962 soul jazzer with guitarist Kenny Burrell that has the band simmering on originals like the bluesy “De Bug” as well as the peppy “Ahm Mix.” Jack McDuff’s classic The Honeydripper from 1961 has bel canto tenor man Jimmy Forrest to join in and fill the room with the growling title track, the humming “Whap” and the fun and funky “Mr. Lucky.” Sticking to the ribs!
Sam Cooke was one of the first artists to cross over from black gospel to pop and what eventually became “soul” music, being a major influence on singers from Otis Redding to Teddy Pendergast. While there is no “definitive” Sam Cooke album, these all have important songs and moments, as well as including the likes of Hank Jones/p, Tommy Tedesco/g, Earl Palmer/dr and George Duvivier/b in the sessions. 1958’s Sam Cooke contains the classic “You Send Me” and the dreamy ditty “Only Sixteen” with wonderfully clear enunciation while “Wonderful World” is a timeless mix of nostalgia and soul. 1960s Cooke’s Tour has him singing about various cites in the world, sort of a R&B/pop read of Sinatra’s Come Fly With Me with songs ranging from “The Japanese Farewell Song” to “Bali Ha’i.” Cooke tried to crossover into the pop field with his interpretations of pieces ranging from “Hey There,” and “Unchained Melody” to “The Great Pretender” with the crooner sounding like a fish out of water. Much more successful is the extroverted 1962 album that capitalized on the hit dance “The Twist” with the rollicking “Twistin’ the Night Away.” Cooke also finally gives a hint of what his concerts were like with the sweaty “Somebody Have Mercy.” That’s more like it!!!