UK based Avid Records continues to amaze me. They find material that I never knew existed, sometimes by artist I’d never heard of, and I’m always impressed by what I hear. I’m willing to bet that NO ONE out there has albums by all five of these artists in their collection, yet the music here is filled with joys and guilty pleasures for all tastes.
Bobby Darin was once described as being “so hip, he wouldn’t eat a square meal.” That attitude summarizes these four albums. The Bobby Darin Story has all of his “hits” with dialogue and introductions spoken by the singer. It would be nice to be able to edit out the talking, but it’s hard to argue with material ranging from “Splish Splash” and “Dream 
Lover” to “Beyond the Sea” to see his growth as an artist. Love Swings from 1961 has Darin in front of a brassy band, and he sounds like a young version of Sinatra during “How About You” and “Skylark.” Ditto for his ’62 session with Billy May’s orchestra as Darin loosens his tie on “I’m Beginning to See the Light” and a snappy “There’s a Rainbow ‘Round My Shoulder.” Possibly the best of the Darin albums is his summit meeting with composer/vocalist Johnny Mercer; they sound completely insouciant together on “Indiana” and “If I Had My Druthers. “ This is some of the most fun you’re ever gonna hear on vocals.
Hammond B3er Jackie Davis came around the same time as Milt Buckner and Wild Bill Davis, meaning he was a real swinger, as opposed to the more bluesy bop of Jimmy Smith. He was a sideman for the likes of Ella and Dinah, but these albums from 1957-60 show him at the helm. He leads a swinging trio with Irving Ashby/g and Milt Holland for a couple albums; short and concise reads of “Darn That Dream” and “I Got The Sun In The Morning” from ’57 are swinging bon mots, while “Calypso Blues” and “Softly As In A Morning Sunrise” are toe tappers from ’60. A solo recital from LA in 1960 has him stretch out over “Heat wave” and a hip “Love Is Just Around The Corner.” In 1959 he’s with Gerald Wilson conducting a band with a bucketload of trombone players which include Dick Nash and Frank Rosolino, crashing through “Frenesi” and “Charleston Alley.” The last album is a quartet session that has a hip backbeat to “Stompin’ At The Savoy” and “The Song Is You.” Through it all, Davis is humming on the Hammond.
Blues guitar legend BB King has a discography so gigantic that it’s intimidating as selecting where to start if you’re uninitiated. Start with this one: it has four of his earlies albums, and they are string bending blues breakers. His 1957 Singin’ The Blues is his first full album, and it has everything you want for getting to know the King. “Every Day I have The Blues,” “Ten Long Years” and “Crying Won’t Help You” are just three of the 12 essential hits. With a jump band in support, he sings and feels like Louis Jordan on pieces like “I’ve Got Papers On You, Baby.” “Sweet Thing” and “We Can’t Make It” burn like a rotisserie roasted chicken, while the 1958 The Blues includes powerful brass searing between King’s patented single note riffs and moaning strings. His own compositions such as “I Want To Get Married” and “Ruby Lee” are first rate as well. King’s 1961 My Kind Of Blues was unique for the period as it isn’t just a collection of singles, but a whole unit, with simple arrangements. The solo guitar intro to “You Done Lost Your Good Thing Now” is one for the books, while the R&B slinker “Someday Baby” is a juke joint jewel. Essential!!!
Ricky Nelson?!?!? YES! This collection of music from Ozzie and Harriet’s son (no cameos with David, unfortunately) is surprisingly swinging. First, in has the famed guitarists Howard Roberts, Tommy Tedesco and James Burton as sidemen, so you’re going to get some great string work, albeit in bite size pieces. Second, Nelson’s early phase was mostly rockabilly, so the bans swings like a Sun Records session with “Honeycomb” and ”There’s Good Rockin’ Tonight.” Third, Nelson’s voice works well on the slower pieces like “Am I Blue?” and “Lonesome Town.” But, best of all, Ricky grow up a tad, shortens his name to Rick, and lays out some classic pre-Beatles pop like “Travellin’ Man” and “Hello Mary Lou.” Is anyone REALLY going to have an issue with that? You’re going to be surprised how often you’ll go back to this collection.
And, for you bona fide jazz fans out there, we give you some early stuff by Larry Young. This is Young before he went into modal fashion on his Blue Note albums. Here, he’s highly influenced by Jimmy Smith, so much so that Smith’s guitarist Thornel Schwartz is on each of the albums, along with drummer Jimmie Smith. Young is only 19-20 for his 2 sessions from August of 1960. One has him as a sideman for smoky tenor saxist Jimmy Forrest and the team oozes through a steamy “Bag’s Groove” and “When Your Lover Has Gone.” Young’s rookie album is rich and bluesy, floating through “Flamingo” with tenor saxist Joe Holiday” and bopping with his trio on the gospel drenched “Testifying” and bopping “Wee Dot.” A quartet session with Wendell Marshall joining in on bass includes exotica like “Nica’s Dream” and “Minor Dream,” with lots of indigo shades on “Young Blues” and “African Blues.” From 1962, Young starts stretching a bit, jamming on “Gettin’ Into It” for 14 minutes and rolling in like a fog on “ Sweet Lorraine.” Organ grinders do swing!
Avid Group