The late 50s and early 60s was an exciting period on music. The zenith of a number of genres occurred during the Eisenhower and Kennedy years, well reflected by these recent 2 disc sets released by Avid Records
Curtis Amy was a smoking saxist in the soul-jazz genre, but then suddenly aborted his 
career, leaving a wake of excellent albums and demands for comebacks. His 1960 debut with Paul Bryant/B3, Roy Brewster/vtb, Clarence Jones/b and Jimmy Miller/dr has Amy strictly on tenor, and he digs deep on Bryant’s “Searchin’” and “This is the Blue” while the team floats on “Come Rain or Come Shine.” The same band returns for a gospel drenched “Meetin’ Here” and moody “Angel Eyes.” The same year of 1961 has Amy mixing up the team with Jimmy Bond/b, Frank Butler/b, Bobby Hutcherson/vib, Carmell Jones/tp and Frank Strazzeri/p for a more bopping session for some originals like the lovely “Beautiful You” and the snappy “Very Frank.” The next year with George Morrow/b, John Houston/p, Roy Brewster/tb, Marcus Belgrave/tp, Tony Bazley/dr and Roy Ayers/vib, Amy gets a bit more adventurous as on the exotic “Liberia” and lyrical “A Soulful Bee, a Soulful Rose.” An excellent and overlooked jazz giant.
Charles Mingus was one of the most important bassists, arrangers and composers in the history of jazz. While just about everything he released is important, these four early albums are part of his “must have” list. The 1956 Pithecanthropus Erectus with Jackie McLean/as, JR Monterose/ts and Mal Waldron/p as guests is a major breakthrough in his career, featuring the opus and wide ranging title track, fun and swinging “A Foggy Day” and searing blues “Profile of Jackie.” 1957 had Mingus release three great albums, the underrated and understated East Coasting with Jimmy Knepper/tb, Clarence Shaw/tp, Shafi Hadi/ts-as, heartbeat Dannie Richmond/dr and ringer Bill Evans/p for a hip title track and richly textured “Celia.” The same year had Mingus in an inspired mood, delivering an album with the classic and emotional “Haitian Fight Song,” dreamy “Reincarnation of a Lovebird,” and gospel drenched “Tonight” at Noon.” Last but not least was the seminal Tijuana Moods, a Desert Island Disc if there ever was one, with the legendary cleaning-out-valve trumpet solo by Shaw, the frenzied and swirling “Ysabel’s Table Dance” complete with castanets and vocal chants and a gorgeously presented “Flamingo.” Could jazz get better than this?
The embodiment of the “vo-cool” style of singing, Mel Torme was at his Velvet Foggiest on these mid-50s delights. His soul mate was arranger Marty Paich, who’s Dektette mixed style and swing to finger popping takes of “Lulu’s Back In Town,” “The Carioca” and an agonizing “ When the Sun Comes Out.” His 1960 Schubert Alley with Paich is on the same high water mark, with Torme’ crooning on “Too Close For Comfort” and a nifty “Whatever Lola Wants” and “On the Street Where You Live.” Surrounded by rich textures from French horns from Paich’s orchestra, Torme’ in 1958 gets desultory on “Blues in the Night” “Round Midnight” and “Gloomy Sunday” while getting a bit carefree on “I’m Gonna Laugh You Right Out of My Life.” Finally, a 1961 session with more extroverted musicians like Bill Perkins/ts, Teddy Edwards/ts, Frank Rosolino/tb, Jack Sheldon/tp, Mel Lewis-Shelly Manne/dr, Jimmy Rowles/p and Joe Mondragon/b under the leadership of Johnny Mandel swing the Count Basie and Duke Ellington Songbooks for hip reads of “Blue and Sentimental,” “Sent For You Yesterday” and “Take the ‘A’ Train.” Torme’at one of his high points.
Cal Tjader was one of the pioneers of West Coast and Latin jazz fitted for the vibes. His 1954 session with Bob Collins/tb, Al McKibbon/b, Brew Moore/ts, Eddie Duran/g, Sonny Clark/p, Eugene Wright/b and Bobby White/dr has the leader on vibes and drums for some easy bop on “Brew’s Blues” and “Moten Swing.” 1958’s San Francisco Moods still has him in the West Coast Cool mood with Vince Guaraldi/p, Eddie Duran/g and a lithe rhythm on originals “Viva Cepeda” and “Union Square.” The two part concert recording has Tjader with a formidable team of Paul Horn/fl-as, Al McKibbon/b, Willie Bobo/dr, Mongo Santamaria/perc and Lonnie Hewitt/p for a rich Afro Cuban “Afro Blue,” bluesy “Doxie” and swinging “Lover Come Back to Me.” Deep grooves!
While being known for only one mega hit, Gene Vincent was one of the prototypes of the Rockabilly style of rock and swing, a genre still with us today. His 1956 debut album includes the infectious “Bluejean Bop” and “Who Slapped John?” while the 1958 sesion with Paul Peek/g, Bobby Jones/b and Max Lipscomb/p add to “You Belong to Me” and some more traditional material such as “Your Cheatin’ Heart” and “Frankie and Johnny.” The same year has him with his Blue Caps on a rollicking “Somebody Help Me” and a fervent “The Wayward Wind.” For his 1960 album, Vincent mixes modern folk pieces like “Green Back Dollar” with teen anthems like “She She Little Sheila” and a bouncy “Crazy Times” while “Mitchiko From Tokyo” rates as an all time wild ride. More than just nostalgia.