Sidney Bechet’s vibrato could fill the Grand Canyon, and he plays his soprano hot and spicy on this collection of early to mid 50s sessions from Paris, France. Two 1952 sessions with Claude Luter’s Orchestra have him bouncing with delight on “Strike Up the Band” and glowing on”Au Clair De La Lune.” Four mid-50 recordings are with Andre 
Reweliotty’s orchestra for Bechet’s own “Tempreamental” and “Trottoirs De Paris,” and the team stretches out on “Halle Hallelujah.” Bechet’s own all stars record in 1952 with Bechet’s gorgeous “Petit Fleur” and a snappy “That Old Black Magic” winning the day. A definitive voice.
Chet Baker’s voice and horn epitomized the 
West Coast Cool sound of the 1950s. The 1958 Chet is Back has the leader in NYC for some nice contrasting sounds with Al Haig/p, Johnny Griffin/ts, Paul Chambers/b and Philly Joe Jones/dr which include a glowing “Blue Thoughts” and a sleek “Solar.” For the 1959 Chet album, he surrounds himself with some of the best artists around, with Pepper Adams/bs, Bill Evans/p, Herbie Mann/fl and Kenny Burrell/g. The reads of “September Song” and “It Never Entered My Mind” are pastoral classics. For Chet is Back, the leader sounds strong and virile during “Well, You Needn’t” and “Pent Up House” while perfectly melodic on the swaying “Star Eyes.” The bonus here are a handful of tracks form the soundtrack to “I Soliti Ignoi” where Baker teams with the composer Piero Umiliani on some clever pieces such as “Gassman Blues Parts 1 & 2.” The best of Baker’s mid-era years.
Ray Charles’ mid 50s years with Atlantic records had him perfectly mixing blues and gospel, creating a whole and distinct type of R&B. His first album has the infectious “Mess Around” as well as a riveting “Drown in My Own Tears” along with his first real hit “I’ve Got A Woman.” After that, he does some gospel jazz with “Doodlin’” and some standards like “Undecided” and “I Surrender Dear” as with Oscar Pettiford/b and Joseph Bridgewater/tp he sticks to jazzy instrumentals in a rewarding way. From 1958 he delivers a desultory “Lonely Avenue” and shadowy “The Sun’s Gonna Shine Again.” His apotheosis was the 1959 What’d I Say album which had the classic title track, the Raelettes on “Tell Me How Do You Feel” and “What Kind of Man Are You” as well as simmering sax solos by David “Fathead” Newman and Hank Crawford/as. This one’s a smoker!
Largely overlooked these days, Johnny Lytle was a highly regarded vibist in the50s-60s, having recorded with the likes of Louis Armstrong, Bobby Timmons and even Miles Davis. His 1960 Blue Vibes is a fun and funky collection wit Milt Harris/org and Tootie Heath/dr, and the team digs deep on the title track while glowing luminously on “Autumn Leaves” and “Over the Rainbow.” The 1962 soul jazzer Nice and Easy has him swinging with Bobby Timmons/p, Sam Jones/b, Louis Hayes/dr and Johnny Griffin/ts who team up to create sparks on “But Not For Me” and get down and dirty on “Soult Time.” His next release has him continued in the organ combo with Ray Baretto’s congas simmering on “Moonlight in Vermont” and “The Nearness of You,” while the team swings with delight on “The Moor Man” and “Work Song.” Overlooked man of good vibes.
With their unique front line vocal harmonies the Everly Brothers (Don & Phil) influenced bands ranging from The Beatles to The Moody Blues. Their high water mark from 1960 is a short but sweet session that includes “So Sad,” “Just In Case” and a rural “Nashvilee Blues.” Fabulous Style has the brothers swinging hard on “Claudette” and rollicking on “Be Bop A Lula” while the extra tracks “Bird Dog” and “All I Have to Do Is Dream” became mega hits. 1961’s Date album includes a pre-Roy Orbison take of “Love Hurts” as well as “Cathy’s Clown.” The Beatles also covered “So How Come” featured here. Instant Party from 1962 has the duo changing gears, switching to standards like “Oh, My Papa” “The Party’s Over” and “Autumn” which makes for an interesting foray. Essential harmonies.