UK-based Avid Records starts the year with a wide palate of reissues.
Hard bop tenor saxist Clifford Jordan released a series of hip albums during his lengthy career. His 1957 debut is impressive, teaming with Lee Morgan/tp, Curtis Fuller/tb, John Jenkins/as, Paul Chambers/b, Ray Bryant/p and Art Taylor/dr for some advanced bop as on “St. John” and a lyrical “Beyond the Blue Horizon.” The same year teams the macho horn with Art Farmer/tp, Sonny Clark/p, George Tucker/b and Louis Hayes/dr for a rich “Sophisticated Lady,” snappy “Confirmation” and clever “Cliff Craft.” Most recommended is the last session from the year, as Jordan shares the front line with a hot left of center John Gilmore and a happening rhythm team of Art Blakey/dr, Horace Silver/p and Curley Russell/b. The team gallops on “Blue Lights” and “Evil Eye” with lots of room to stretch out. A ’62 session has him in a rare quartet setting, with Cedar Walton/p, Teddy Smith/b and JC Moses/dr and he sounds impressive on a rich “How Deep is the Ocean” and “Malice Towards None.” An overlooked giant.
Some of the swingingest rock you’ll ever come across is featured on this collection of artists that show the progression from rockabilly to modern pop. All you need to know about the legendary Carl Perkins is featured on his “Dance” album, with classics like the original version of “Blue Suede Shoes” as well as “Matchbox,” “Everybody’s Trying to Be My Baby” and “Honey Don’t” which were eventually covered by The Beatles. Frankie Ford is best known for his novelty rocker “Sea Cruise,” and it’s a jumping joy, but “Roberta” and “Cheatin’ Woman” aren’t far behind for New Orleans flavored R&B. Johnny Preston was a mix of pop and country, with a gigantic hit in “Running Bear” with “Cradle of Love” an impressive follow-up to the one-hit wonder. Eddie Cochran gave Elvis a run for his money at one time, with good looks, good hair and great attitude, as shown on his album with the absolute standard bearing version of “Summertime Blues.” Last but not least, JP Richardson, aka “The Big Bopper,” is known for two things; the infectious and humorous “Chantilly Lace” and being on the ill fated flight with Buddy Holly. The rest of the material here is straight-ahead good time rockabilly, and guaranteed to get you on the dance floor.
The four albums by Billie Holiday find her at the latter end of her career. Distingue’ Lovers is strong and impressive, with Holiday teamed in 1957 with top notch artists like Harry “Sweets” Edison/tp, Ben Webster/ts, Barney Kessel/g, and Jimmy Rowles/p. Her darker hued voice is palpably emotive on “One For My Baby” and “I Didn’t Know What Time It Was.” 1958’s Blues Are Brewing is from her period with Decca, and she’s with an orchestra with a deep and bluesy “Big Stuff” and a rare delve into the blues on the old timer “Gimme a Pigfoot” She also does a couple duets with Louis Armstrong, with lots of sass on “My Sweet Hunk O’ Trash.” Solitude from 1952 has her back in her Verve studios, with small groups including Oscar Peterson, Charlie Shavers and Flip Phillips, and she’s comfortable with lithe “East of the Sun” and a clever “Blue Moon” where her attitude of phrasing is head spinning. Her Lover Man album is a collection of 78s from 1947-48 in various settings under the baton of Toots Camarata, and she gives a completely different mood to “Lover Man” than her earlier days, as with a fragile “My Man.” Taken on its own terms, a precious period of Lady Day, and some of her most expressive moments.