AMAZING OBSCURITIES FROM AVID…Ernestine Anderson: Four Classic Albums, Lurlean Hunter: Four Classic Albums, Hal McKusick: Second Set-Four Classic Albums, Marty Paich: Second Set-Four Classic Albums

UK-based AVID Records has a lot to teach us Americans about jazz. They continually amaze me with artists and material that I know little about, and yet each release has some amazing music to offer. Here are four perfect examples.

Ernestine Anderson is still with us at 86, but her career has always been overlooked for the likes of Ella, Sarah and other jazz artists, maybe because she’s been considered a “pop” or “blues” singer. Well, here, we’ve got four albums from56-60 that has all the bona fides you could ask for. Hot Cargo from 1956 is a recording with a Swedish big band, and they sound completely modern as Anderson sighs on “Day Dream” and coyly delivers “Mad About The Boy.” An  LA session from ’58 with Bud Shank/as, Shelly Manne/r and Pet Rugulo as arranger bops through a read of Gigi Gryce’s “Social Call” and moons on Mel Torme’s “Welcome to the Club.” Ernie Wilkns is the arranger for all stars including Yusef Lateef/wwinds, Clark Terry/tp, Hank Jones/p, Kenny Burrell/g and Chrlie Persip/dr on a bluesy “See See Rider” and some intriguing obscurities such as “Mound Bayou” and “Black Moonlight.” The same year, a big band lead by Hal Mooney includes a bunch a Basie-ites, and they swing likes it’s Kansas City on “Moanin’ Low” and “Hooray For Love.” Anderson sounds like a mix of sass and swing here.

Lurlean  Hunter is even more undeservedly overlooked, basing her career in Chicago in the 50s. She’s got a clean, concise and yet alluring voice on these mid 50s sessions that are c=quite hip. A studio band with strings arranged by Al Cohn, Ernie Wilkins and Manny Albam has some rich harmonies on “It’s The Tlak of the Town” and “That Old Feeling.” A moody and “cool jazz” team of Jim Hall/g, Bud Freeman/ts, Harry Edison/tp and George Duvuvier/b has Jimmy Giuffre arranging a luscious “My Kinda Love” and “Blue & Sentimental.” A rich sax section of Hal McKusick, Frank Wess and Charlie Fowlkes dominates a delightful take of obscurities “Brief Encounter” and “A Stranger in Town,” while a 1957 Orchestra including Herbie Mann/fl, Milt Hinton/b and Osie Johnson/dr sizzle on “Steppin’ Out With My Baby” and a fun loving “I Feel So Smoochie.” Where’d this lady come from?!?

Hal McKusick’s career has never been on the front pages for jazz fans, but this collection of mid 50s albums helps put his life into perspective. He leads a spacious 1955 quartet with Barry Galbraith/g, Osie Johnson/b and Milt Hinton/dr on material composed by the innovative Manny Albam. Along with shadowy standards such as “You Don’t Know What Love Is” and “What’s New” some intriguing “West Coast” sounds come from “Blue-Who” and “Interwoven.” Another ’55 session has McKusick leading a chamber-like Octet  that mixes reeds and strings on more Albam material such as “Alto Stratus,” “Step Lively Osie” and “Gift of the Magi,” while “How Long Has This Been Going On” is a sepia delight. A ’57 quintet with Art Farmer/tp swings well on “ Makin’ Whoopee” and “Old Devil Moon” and the horns blend well on “Alone Together.” Later in the year McKusick leads another quintet with Billy Byers and the team stretches out on “The Settlers And The Indians” and gets nice and swinging on “Saturday Night.” Vintage bop from the Ike years.

Four albums from Marty Paich deliver lithe and finger snapping material. A June session from 1957 has Paich leading a nifty trio with Red Mitchell/b and Mel Lewis” through some swingers like “I Hadn’t Anyone Til You” and “A Dandy Line” whereas a month later a horn section of Stu Williamson-Bob Enevoldsen/tb and  Jack Sheldon-Don Fagerquist delivery gently brassy takes of “Blue Lou,” “Soft Wind,” a swinging “Jumpin’ At The Woodsie” and a hep “Yardbird Suite.”  West Coasters JimmyGiuffre/reeds, Bill  Perkins/ts and Art P epper/as make some lighter than air takes of “It’s All Right With Me” and “Too Close For Comfort” along with a ding donger of “ If I Were A Bell.” The reeds take over again on a ’59 session that focuses on Ellington as a  bari-toned “Warm Valley” floats while “What Am I Here For/Cottontail” struts like the cock of the walk. Vintage Los Angeles moods.

Avid Entertainment

www.avidgroup.co.uk

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