The UK-based reissue specialists AVID RECORDS continues to find material that I never even knew existed, let alone was looking for. These undeservedly overlooked gems are finally seeing the light of day, and we are the better for it. Here are their four latest 2 cd set beauties:
Ella Fitzgerald was at the peak of her powers when these albums from 1957-62 were produced. She was mixing her songbooks with live recordings as well as some wonderfully creative “theme albums” with various orchestras. Like Someone In Love from ’57 and Hello Love from 57 and ’59 not only have some gorgeous arrangements by Frank Devol’s orchestra, but the former has the added attraction of “sensitive poignant solos” by guest tenor star Stan Getz on four of the tracks .
Guitarist Charlie Byrd initially got name recognition for being on the very first US bossa nova albums, particularly the one with Stan Getz that started the whole ball rolling with “Desifinado.” On these four albums, his subtle and tasty guitar is mostly featured in small group settings except for a nifty octet on a ’58 album Byrd’s Word which had a handful of rich sounds as on “What’s New” and “Buck’s Hill. Even here, though, he does a couple pieces with unamplified guitar along with Keter Bett’s cello (“Conversation Piece” ) or vocalist Ginny Byrd (“Don’t Explain”). A ’60 trio with Betts/b and Buddy Deppenschmidt/dr deliver orange embers on “Nuages” and “Speak Low” and his Spanish guitar works with Betts/b and Gus Johnson/dr on a gently swinging ’57 date which includes “This Can’t Be Love” and “Jive at Five.” Tom Newsom’s flute and tenor sax liven up the session with Al Lucas/b and Bobby Donaldson/dr for some glowing readings of “My Funny Valentine” and “Spring Is Here” while Byrd’s Iberian sounds glisten on “Spanish Guitar Blues” and “Prelude.” Wonderfully subtle.
Bill Perkins was one of the “West Coast Cool” tenor sax players that got bit by the Lester Young bug. These 55-56 sessions with some of LA’s best and brightest summarize the era’s apotheosis of gentle swing. Along with Conte Candoli/tp, Pete Jolly/p and Buddy Clark/b, Perkins oozes warmth on “Beyond the Sea” and “Soft As Spring” while a session with fellow tenorists Al Cohn and Richie Kamuca sound as sharp as a Caddy’s fins on “Three of A Kind” and “Kim’s Kaper.” The rhythm team includes Hank Jones/p and is as crisp as Romaine lettuce. Kamuca and Perkins create a formidable front line with Jolly/p, Red Mitchell/b and Stan Levey for some succulent morsels like “Indian Summer” and a woozy “I Want A Little Girl” and a ’56 gig in LA hasBud Shank/as, Jack Nimita/bs-bcl, Stue Williamson/tp, Carl Fontana/tb, Russ Freeman/p, Mel Lewis/dr and Mitchell/b sailing smoothly on “When You’re Smiling” and a fun loving “For Dancers Only.” Classic So Cal scene when sunny and smoggy LA was the place to be.
Known mostly as part of the Atomic Basie Band, Frank Wess also made a number of impressive albums with his tenor and flute right up until the year he died in 2013. The 1956 session has him on flute with the sophisticated guitar duo of Freddie Green and Kenny Burrell along with Eddie Jones/b and Kenny Clarke/dr for some gorgeous readings of “Over The Rainbow” and a nifty “Kansas City Side.” In ’57 he did a couple of blowing sessions, the first with the twin tenors of John Coltrane and Paul Quinichette for rollicking takes of pianist Mal Waldron’s “Wheelin’” and “Deelin’” while “Robbins’ Nest” oozes with joy. Tenor saxist Oliver Nelson arranges an octet with Tommy Flanagan/p, George Duvivier/b, Osie Johnson/dr and Ray Barretto/conga and a lava rich front line through a caressing “Dancing in the Dark” and a fun “Gin’s Beguine.” This is when tenor’s sounded like muscle men at Venice Beach and not the 90 lb weaklings that have sand kicked in their collective faces these days.
Avid Group UK