UK based Avid Records gets a bit creative in its selection of material for its two disc sets. Two sets focus on albums by jazz artists that were their debuts, while two other sets spotlight cool toned ladies. Last, but not least is the foray into Motown, with the early 
sounds of Detroit pointing to the direction of future generations.
James Moody’s 1958 Last Train From Overbrook a larger group ensemble that gives a hoot of a read of “Tico Tico” while bopping with the best on “All the Things You Are” and a 
glowing “Don’t Worry ‘Bout Me.” The title track is gorgeously delivered, and Moody shows his wares on alto, tenor and flute. Before he became associated with New Age music, Paul Horn did some hip stuff with Chico Hamilton as well as on his own. His 1960 album has him on alto, flute and clarinet and includes Billy Higgins on drums. The mood is relaxed yet with clever time signatures for the era, with “Tall Polynesian” and “Mr. Bond” clever burners. Lou Donaldson’s 1960 Sunny Side Up is a classic hard bopper with Sam Jones/b, Al Harewood/dr Bill Hardman/tp and Horace Parlan/p joining in for Charlie Parker-inspired material such as “It’s You Or No One” and “Blues for JP.” Jimmy Woods is the most obscure of all these artists, having only cut two sessions on his own. This 1962 debut with Gary Peacock on bass walks the tightrope between advanced bop and avant garde, and sounds fresh and exciting on material such as “A New Twist,” “Little Jim” and the title track. Hunt this guy down!
Before leaving jazz to become a teacher, trumpeter Louis Smith cut a hot debut for Blue Note Records in 1957. With Duke Jordan-Tommy Flanagan/p, Cannonball Adderley/as, Art Taylor/dr and Doug Watkins/b, Smith impresses on the hard driver “Tribute to Brownie” and glistens on “Stardust.” Booker Little made his name with Eric Dolphy and put some impressive material on his own before his early death. His 1960 debut after leaving Max Roach is an impressive quartet date with Wynton Kelly-Tommy Flanagan, Scott LaFaro/b and Roy Haynes/dr. The mood is casual and relaxed, showing strong composing skills and tone on “Minor Sweet” and “Life’s A Little Blue.” Johnny Coles made his name with the advanced sounds of Charles Mingus, Herbie Hancock and Gil Evans, with his sweet tone highly impressive, making him a member of Ellington’s band for awhile. His 1961 debut features him in good company including Randy Weston-Kenny Drew/p and Charlie Persip/dr. His own blues “Room 3” is lyrical, while his read of Weston’s “Hi-Fly” is a must-hear. Overlooked over the years is Joe Gordon, who’s 1961 Lookin’ Good an impressive session with strong pieces like “Terra Firma Irma” and “A Song For Richard” showing what we missed by his premature departure. A ringer!
Peggy Lee was at her Billie Holiday-ist during the mid 50s. Her 1957 Dream Street is comparable to Frank Sinatra’s Wee Small Hours in terms of vulnerability and desultory moods, with definitively blue reads of “What’s New?” and “Last Night When We Were Young.” From the same year, Lee has Frank Sinatra himself conducting the orchestra in a theme album that has Lee in a dreamy mood for “Happiness is a Thing Called Joe,” “That’s All” and the title track. This might be her flagship release. The followup Jump For Joy has Peggy Lee with Nelson Riddle arrangements and the pair are in upbeat moods, with an album that feels like Sinatra’s Swingin’ Session on “Just in Time” and “What A Little Moonlight Can Do.” A few years later, Lee does another concept album with Lee swinging through the states on pieces such as the obscure “Los Angeles Blues,” “Boston Beans” and the better known “St. Louis Blues.” This is a great place to check out why Ms. Peggy Lee was Blue Eyes’ fav.
Another lady who could straddle jazz and pop, Jeri Southern was also an accomplished pianist. She hit the ground running on what was essentially her debut album. The Southern Style is a deeply mature work, filled with hues and tones that are up there with Sinatra’s Where Are You. “My Letters” and “Too Marvelous For Words” are penetratingly delivered. Her 1956 followup is just as strong, focusing on noir-ish ballads such as “Speak Low,” “Close to You” and Ellington’s haunting “Prelude to a Kiss.” Next year’s Summer Breeze is filled with torch songs with support by swingers Georgie Auld/ts and Don Fagerquist/tp. She’s stunning on “Down With Love” and “Crazy He Calls Me.” 1959’s Coffee… has Southern in vintage regretful reminiscences on “This Time The Dream’s On Me,” “Yesterdays” and “Detour Ahead.” Few, except for Lady Day, expressed so much with so little.
The Motown collection features debut albums by some of Detroit’s most influential bands. Smokey Robinson wasn’t out front of The Miracles yet, but he’s definitely the main singer and even songwriter here. Their first album included the mega hit “Shop Around” but their take of “Money” isn’t far behind. Marvin Gaye’s 1961 album had him groomed as a crooner of standards, still able to give personal reads of “My Funny Valentine,” “Witchcraft” and “Easy Living.” Lead singers Gladys Horton and Wanda Young were the foundation for the Marvelettes, and they had a major hit with “Mr. Postman.” The Supremes, lead by Diana Ross (although Mary and Flo weren’t exactly slackers), didn’t have any major hits on their initial album, but “Your Heart Belongs to Me” and the bluesy “Who’s Loving You” are strong intros to the trio. Last but not least is The Contours, who were the ultimate hard driving R&B band with singalongs like the classic “Do You Love Me” as well as “You Must Be Love.” A must for party nights.