You think you know about music, and then labels like Avid come along and introduce you to artists and albums that you never knew existed. The latest four releases are perfect cases in point.
Most people associate pianist Paul Bley with outside and free music, but these early albums from 53-61 reveal a hidden side. A real rare date, his first, is from 1953 and has him in a trio 
format with no less than Charles Mingus/b and Art Blakey/dr! The music is pretty straight forward bop, with “Split Kick” swinging hard and “I Can’t Get Started” sitting well with originals like “Teapot.” From ’54, a trio with Percy Heath-Peter Ind/b and Al Levitt/dr is mainstream as you can get, with a hip “Topsy” and bouncy “I Want to Be Happy.” Things start turning left as Blety gots post-bop as Charlie Haden/b and Dave Pike/vib both make their recording debuts along with Lennie McBrowne/dr on a hip “Birk’s Works” and interesting originals like “Beu Didley” and “Solemn Meditation.” Bley serves as a major catalyst as change is in the air for Jimmy Giuffre’s 61 recording. Along with Steve Swallow/b, the trio creates some real artsy moments, such as an agonizingly slow and undulating “Jesus Maria.” Giuffre’s low register does point and counterpoint along with some free forms as on “In The Mornings Out There” and drones mix with jumping intervals on “Cry, Want” and “Emphasis.” Fresh and excitingly experimental.
Bassist Curtis Counce was a fixture in the West Coast Jazz scene in the 50s. Here, he’s a sideman in 1953 for an artsy “Third Stream” session lead by vibist Teddy Charles. Along with Shorty Rogers/tp, Jimmy Giuffre/ts-bs and Shelly Manne/dr, Counce delivers intricate and cerebral material such as “Variations on a Motive by Bud” and “Further Out.” As they used to say with Wagner, “It’s a lot better than it sounds.” Things get a lot more fun when Counce leads a hip LA team of Harold Land/ts, Jack Sheldon/tp, Carl Perkins/p and Frank Butler/dr on a tasty “Too Close For Comfort” and they bop with the best on Charlie Parker’s “Big Foot.” West Coast Cool and Hard Bop mix together perfectly in a 58 session with Land, Butler, a warm toned Rolf Ericson/tp and snappy Elmo Hope/p as a standard like “Someone to Watch Over Me” or “Angel Eyes” glow under Ericson’s horn, and the team sizzles on the fun “Into The Orbit.” From the same year, arguably his last session, Counce works again with Sheldon, Land, Perkins and Butler with Gerald Wilson/tp sitting in for a couple of tunes, and the team sounds wonderful on the driving “Nica’s Dream” and graceful “Love Walked In.” Not sure how the West Coast got a reputation for being wimpy, cause it ain’t here!
Red Callender was also a major player in the LA jazz scene, making a living in the studios and gigs in both bass and tuba. His own music from the 40s-50s are incredibly strong. The real ringer her is his classic trio meeting with the legendary Lester Young/ts and Nat Cole/p before he became a king. Young’s warm and lithe tenor on “I Can’t Get Started” and the luscious “Body And Soul” is what dreams are made of in this essential Desert Island Recording. From 1954, a session with pastoral woodwinds by BuddyCollette/fl-cl and other s along with Bob Bain/g, Red Mitchell/b ;and Bill Douglass/dr create pastoral originals like “Cris” and luscious reads of “In A Sentimental Mood” and “Speak Low.” Next year, a similar collection of reeds and brass get together for an album of Callender compositions. The octet swings lightly and has some clever melodies in “All For You” and “Walking ON Air.” The solos and ensemble pieces weave in and out seamlessly on this sleek and glowing obscurity. Callender plays both tuba and bass on these big-small sessions. Collette, Gerald Wilson/tp and Bill Douglass/dr are regulars along with Gerald Wiggins/p on fresh and fun tunes like “Another Blues” and “Dedicated to the Blues” as arrangements of “Autumn IN New York” and “Of Thee I Sing” sound fresh and crisp. Gobs of scintillating ideas.
Jerome Richardson ALSO made a living in the West Coast, but here he’s captured in NYC. He is on a couple classic Charles Mingus sessions, and did tons of studio work in the 50s-80s. Here, the multi reed artist is captured in the 50s and 60s. From ’55, Richardson plays tenor sax and flute as does Frank Wess while Ernie Wilkins provides the alto sax and arrangements along with an bopping rhythm team of Hank Jones/p, Eddie Jones/b and Kenny Clarke/dr for a swinging “Shorty George” and letting everyone stretch out on “Bouncin’ With Boots.” A 58 session in New York with Jimmy Cleveland/tb, Kenny Burrell/g, Joe Benjamin/b, Charlie Persip/dr and Jones have the team grooving with delight on an exotic “Caravan” and digging deep on “Way In Blues.” Richardson brings in his beefy baritone sax for three songs on the 1959 recording with Richard Wyands/p, George Tucker/b and Persip with a wonderfully autumnal “Poinciana” and richly textured “Warm Valley” creating some swooning moments. Last, from 1962, Richardson with Wyands, Henry Grimes/b, Grady Tate/dr and Otis Spann/g-fl take on popular movie themes of the time with “No Problem” featuring Richardson’s gorgeous baritone and Otis Spann’s airy flute. A two flute treatment of West Side Story’s “Tonight” is a real treat, while “Delilah” is gloriously dark and mysterious. A real cooker of a collection.
Avid Music