Swinging soul comes in various forms on the latest cache of 2 cd releases from UK-based Avid Records
The King of the Hard Bop quintet, drummer Art Blakey, is featured on four vintage sessions. His halcyon days start on the 1958 Moanin’ session with Benny Golson/ts, a 20 year old Lee Morgan/tp, Bobby Timmons/p and Jymie 
Merritt/b with the classic title track and iconic Morgan solo, as well as the groovy “Blues March.” 2 years later, Wayne Shorter has replaced Golson with the gospel-grooved “Dat Dere” as well as the hip “Lester Left Town.” The same year has a bacchanal treatment of “Night In Tunisia” while a sextet from ’61 includes the new trumpet gunslinger Freddie Hubbard along 
with Curtis Fuller/tb for a formidable front line for exciting pieces like “Mosaic” and “Crisis.” This is the gold standard of modern sounds.
Drummer Max Roach lead a number of important small groups, with this represented period being his most socially active. 1960 has him with Coleman Hawkins/ts, Booker Little/tp, Julian Priester and most notably vocalist Abbey Lincoln for some gut wrenching material such as the unforgettable vocal/drum duet on “Tryptich.” The same year has him with brothers Stanley/ts and Tommy Turrentine/tp with Julian Priester/tb and Bob Boswell/b with some lovely work on “Lotus Blossom” and the easy lilt of “The More I See You.” Next year has another classic album with Little, Priester and ringer Eric Dolphy/as-bcl-fl keeping things interesting for Mal Waldron/p and Art Davis/b along with guest percussionists. Lincoln again delivers highly visceral vocals, while Dolphy cries out on his alto on “Mendacity.” From 1962, Richard Williams/tp, Clifford Jordan/ts along with the remaining members are augmented by a vocal choir for some yearning pieces with Lincoln as on “Lonesome Lover.” Music with a message.
One of the foundations of what became “rock and roll,” Louisiana-based Fats Domino takes you to the roots with these late 50s sessions.Not only was Domino one of the leaders of R&B, but he had the biggest names of the tenor sax such as Lee Allen, “Buddy” Hagans and Red Tyler supplying smoking solos. From ’58, infectious material such as “Big Beat” and “Barrel House” roll like the Mississippi, while Swings is chock full of hits like “The Fat Man,” “Blue Monday,” “My Blue Heaven” and “Ain’t That A Shame.” 1959 has him in a Crescent City mood with “When The Saints Go Marching In” and a fun “Li’l Liza Jane.” A fairly obscure album from 1962 entitled Let the Four Winds Blow doesn’t disappoint, with Domino in great form for “I Can’t Give You Anything But Love.” Music for the ultimate party.
No one mixed rural blues with Biblical prophecy like Rev. Gary Davis. His highly influential picking style. On the 1958 album, he delivers classic reads of “Cocaine Blues,” “Buck Dance” and “Hesitation Blues” setting the style for artists such as Brownie McGee and Dave Van Ronk. 1961’s Say No To The Devil has him doing amazing things on his 12 string on “Lost Boy In The Wilderness” and “Time Is Drawing Near” with some Old Testament preaching on “Hold To God’s Unchanging Hand.” From the same year, Davis delivers a harrowing “I’ll Be All Right One Day” as well as a visceral “Motherless Child” while giving hope for the soul on “There’s a Bright Side Somewhere.” The Baptist minister is also featured on the American Street Songs collection with pulpit pounding presentations of “Sampson and Delilah” and “Twelve Gates to the City.” A balm from Gilead.
Nina Simone had a varied career as classical pianist, jazz artist and social activist. This 2cd set features her earlier period. Two albums are from 1959; a concert from Town Hall features her alluring and haunting voice with a definitive “Black Is the Color of My True Love’s Hair” while Jimmy Bond/b and Tootie Heath/dr give support on “The Other Woman.” In the studio, she swings on “Stompin’ at the Savoy” while also English folk tunes as on “ Tomorrow (We Will Meet Once More.” Next year has Simone at Newport’s Jazz Festival and mixes spirituals such as “Trouble In Mind” with standards including “Porgy” and “You’d Be So Nice To Come Home To.” In 1961 has her with guitarist Al Schackman, sounding impressive on “Just Say I Love Him” as well as an earthy “Gin House Blues.” Impressive library of ideas for a woman just about to become extrovertedly socially conscious.