Back in the early to mid 50s, a tiny label named Bethlehem Records signed up an alarming number of hip singers and musicians, ranging from Mel Torme to Duke Ellington to Charles Mingus. Adventurous to say the least, they had a great thing going before finally 
cashing in their chips. Fortunately, Naxos and 
Verve Records decided to go through the 
catalogue and will reissue some material that represents either the earliest or most important material by the likes of Johnny Hartman and Booker Ervin. Here is the first salvo…
Chris Connor’s 1954 session just might be her very first recording, and it’s a portend of things to come. Adroitly supported by Ronny Odrich/cl-fl, Joe Cinderella/g, Don Burns/acc, Vinnier Burke/b and Art Mardigan/dr, Connor delivers a desultory “Cottage For Sale” and “Lush Life” that will make you want to stay away from sharp objects for awhile. The modern sounding supporting harmonies are light years ahead of their time, and Connors set the tone for the “vo-cool” style as well. What a rookie!
Tenor saxist Booker Ervin is best known for his stint with Charles Mingus, and this 1960 sessions shows that Obi Wan Kanobi taught him well. Teamed up with Zoot Sims/ts, Tommy Turrentine/tp, Tommy Flanagan/p, Mingus alumnus Danny Richmond/dr and George Tucker/b, Ervin displays his boss’ penchant for tricky themes on “Little Jane,” while giving room for Turrentine on “Poor Butterfly and the gospel-driven “Git It.” Ervin’s blues tone is manifested in all it’s glory on the luminous “Largo” with Flanagan while he shows his roots on “The Blue Book.” You’re gonna love this guy!
Speaking of tenor saxists to love, does it get any better than long tall Dexter Gordon? Here, the lanky gent meets with Kenny Drew/p, Leroy Vinnegar/b and Larry Marable/dr in a 1955 Hollywood studio and sounds as hip as Dumbo in tights. This horn fills the Taj Mahal on “Darn That Dream” and “Autumn in New York,” while he snaps like snow peas on “Confirmnation “ and the finger popping title track. This session was right before his first exodus, but there’s no sign of problems here, as he displays style and humor with aplomb. Yee Haw!
Charles Mingus is caught in this intriguing 1954 session with the unorthodox context of John LaPorta/cl-as, Teo Macero/ts-bs, Thad Jones/tp, Jackson Wiley/cello and Clem De Rosa/dr. He mixes themes of “What is This Thing Called Love” with “Hot House” like a French chef treats a sauce, while the moody bow of Wiley’s cello adds fascinating textures to “Minor Intrusion. “ Jones sounds marvelous on “Stormy Weather” while the melding of reeds by Macero and LaPorta on “Four Hands” is comes off like a Renoir landscape.
Bassist Oscar Pettiford was on a par, and maybe even a bit ahead at the finish line with Charles Mingus for most important bass players at the time of this 1955 Hollywood session. The quintet of Pettiford with Julius Watkins/f-horn, Charlie Rouse/ts, Duke Jordan/p and Ron Jefferson/dr is second to none, and the material like “Sextette” and the nifty “Trictatism” is both advanced and yet in the pocket. The problem is that this session of six songs barely clocks in at 15 minutes! Was this originally an ep, or was this a Reader’s Digest version of a jazz session?
Before she became known as the jazz version of Janis Ian, Nina Simone started her career as a top notch pianist and vocalist. She demonstrates her bona fide chops on instrumentals such as “Mood Indigo” and “ Good Bait” with Al Heath/dr and Jimmy Bond/b and is quite impressive in lyricism and originality. Her vocals at this stage (1958) are warm and thoughtful, with nary a hint of anger, as demonstrated by “He Needs Me” and “I Loves You Porgy.” She’s surprisingly fresh and full of thoughtful energy here-give this session a try if you’re used to her as a social activist and victim. You’ll be surprised!
Bethlehem Records
www.vervemusicgroup.com