Uk-based Avid continues its stellar reissue program, this time spotlighting guys that were the standard bearers for swing and bop, respectively.
Earl “Fatha” Hines is easily one of the top 5 most important pianists in jazz history, liberating it from it’s who fisted stride to a more solo oriented sound. The one time Louis Armstrong partner is found here in the 50s and 60s, ranging in bands from trio to small ensembles. He actually sounds most “modern” and “timeless” when the support is simple, as in the ’57 sesson with Gus Wallerz/dr and Guy Pederson/b where he freely swings in abandon on “Hallelujah!” and “Makin’ Whoopee” while glowing on “Moonlight In Vermont.” A 1960 quartet with Carl Pruitt/b, William English/dr and Calvin Newborn/g has him delivering some irresistible music on ”Stealin’ Apples” and “Saint Louis Blues Boogie Woogie” while even singing quite well on ”I Can’t Believe…”A ’54 album has him mix trio tracks with a small band that 
includes Jerome Richardson/ts and Dicky Wells/tb that rocks like an R&B outfit on “The Web” and”A Jumpin’ Something” but sounds a bit dated and out of his forward thinking mentality when teamed up in 1961 with traditionalists on ”Monday Date” and “Yes, Sir, That’s My Baby.”
Harry James had one of the biggest and most expressive sounds on the trumpet, making his name with Benny Goodman’s orchestra before making tons of money (that he lost gambling)for pop tunes like “Cirbirbim.” These four albums, however, swing as hard as you could ever hope for. The 1959 band has some smoking arrangements by Ernie Andrews, mixing the swing of Basie on tunes like “Shiny Stockings” and “M-Squad Theme” while giving a tip to Miles Davis on a hot read of “Walkin’.” Three albums from 1961 have him first mixing Ellingtonia with Basie, with takes of “Take the ‘A’ Train” and ”Satin Doll” sounding hip while the Neal Hefti songbook is highlighted on an album that includes some latin cookers like “Fontainbleau” and “Chirarina.” A collection of originals such as the easy stepping “Harry’s Delight” fit in well with a eye popping read of “Lover Man.” James keeps the swing era fresh!
Cecil Payne isn’t well known nowadays, but at one time he was THE baritone player of the bebop era. He sounds marvelous here on a collection of small group settings. From 1956, a super team of Charlie Parker alumni (Duke Jordan/p, Tommy Potter/b, Art Taylor/dr, Kenny Dorham/tp) snap like snow peas on “Groovin’ High, while a Parker Tribute from 1961 with Jordan, Ron Carter/b, and Clark Terry/tp do wonders with “Bongo Bop,” “Relaxin’ At Camarillo” and the more obscure “Communion.” Throw in trombonist Bennie Green, and you get the soundtrack for the underground jazz classic play “The Connection.” These tunes by Kenny Drew and Cecil Payne” are modern gems, with “Dear People” and “Sister Carol” great themes that need to be revisited. From 1956, Cecil Payne joins with buddy Randy Weston/p, Ahmed Abdul Malik/b and Wilbert Hogan for a wondrous quartet session with Payne shining bright on”I Can’t Get Started” and “Little Niles,” while Weston shows the influence from his friend Thelonious Monk on trio reads of “Serenade In Blue” and “This Can’t Be Love.” Glorious.
If anyone was influenced by Charlie Parker, it was Phil Woods, whose alto sax still blows brightly. Two albums from 1956 are included. The first has him teamed up with fellow alto saxer and a pair of trumpeters in Kenny Dorham & Donald Byrd for a handful of tuens where everyone stretches out. He leads a quartet that shows his joy on “ Slow Boat to China” and an intriguing “Woodlore.” From 195 he tips his cap to Parker with Red Garland’s band with well known bop tunes “Au Privave” and “Scrapple From The Apple” as well as Woods’ own “Sugan.” A larger band with QuincyJones conducting the likes of Tommy Flanagan and Sahib Shihab/bs has a 1961 session delivering a 5 Part ensemble that mixes waltzes, Scherzo’s and Ballads with a jazz sensibility. Bop right in!
Avid Record Group