This UK label is cranking out timeless jazz from post WWII to Pre Beatles like there’s no tomorrow. I’ve yet to come across one of their 2 cd sets that isn’t a treasure. Start digging for gold!
Chris Connor was (along with June Christy)one of the progenitors of what we now call the “Vo-Cool” with style of singing. Her subdued, light but husky voice epitomized was a perfect answer to the high pitched and over emotional ladies of the period. She could get her point across, though, and she had a since of timing, swing and emotional depth through her subtle phrasing that was second to none.
These early to mid 50s sessions include her classic Bethlehem sessions Lullabys of Birdland, Chris and This is Chris, sets that defined her career, style and attitude. Sy Oliver’s Orchestra is behind her on a dreamy Blue Silhouette” as well as the hilarious “Chiquita From Chi-Wah-Wah.” Small bands lead by Ellis Larkins/p, Vinnie Burke/b and Ralph Sharon/p create tunes that are indelibly intimate; get a load of “What is There to Say” or “How Long Has This Been Going on” for vulnerability, as well as “Lullaby of Birdland” and “It’s All Right With Me” for showing that less is more. Chris and Chris Connor from 1956 has her mixed and matched with orchestras lead by Ralph Burns and small to medium bands that include John Lewis/p, Oscar Pettiford/b, Connie Kay/dr, Zoot Sims/ts, aAl Cohn/ts among others. The take of “Where Are You” is up there with Sinatra’s and “Angel Eyes” ain’t far behind. Essential vocals in a nice package.
The next two are a pair of trio albums by underrated pianists. Kenny Drew was a reliable sideman for everyone from Coleman Hawkins to Dinah Washington, with Buddy Rich somewhere in between, so he knew how to play! He’s a proto-bopper, with some advanced harmonic ideas, and these 4 sessions have him leading sessions from Blue Note and OJC from the 50s. A ’53 session with Curly Russell/b and Art Blakey/dr has him burning up “Lover Come Back To Me” and delivering some clever chords on “Yesterdays.” Philly Joe Jones/dr and Wilbur Ware/b are on hand for cooking takes of “The Lady is A Tramp” and thoughtful renditions including “I Didn’t Know What Time it Was” and “I Could Write A Book.” A full quintet with Donald Byrd/tp and Hank Mobley join in for a ’57 session that focuses on the trumpeter’s hot Clifford Brown-inspired tone on “Little T” and “it’s You Or No One,” and a ’55 date with Joe Maini/as-ts delivers the goods on “Wee Dot,” “I’m Old Fashioned” and originals such as “Deadline” and “Walkin’Talkin’” Timeless hard bop.
Junior Mance keeps his trio a bit simpler, relying on blues, ballads and soulful standards here. He played with Lester Young and Cannonball Adderley, so he’s got the feelin’ with trios that include, Ray Brown/b & Lex Humphries/dr, Bobby Thomas & Ben Tucker/b, Larry Gales/b & Ben Riley/dr and Jimmy Rowser/b & Paul Gusman/dr for these late 50’s-early 60s sessions. The feel is uniformly hip, with readings of “A Smooth One” and “Whisper Not” hitting it just right on a ’59 session, and a clever delivery of Ellington’s “Main Stem” on ’60 date. A studio session from 1961 has him sounding highly Spherical on Monk’s “Ruby My Dear” and his “Summertime” is sublime. A concert from February of the same year has the band turning the heat up a bit on “Looptown” and a cooking little “Smokey Blues” before delving into a KC inspired “9:20 Special.” Sublime!
Bud Shank had an enviable career as both a studio stud in LA during the heavy 50s, as well as an impressive solo career, delving into the West Coast sound early in his career before getting a bit more assertive in his later years. These 54-58 recordings have him in various environments. He forms an impressive front line with Bob Cooper (on ts, oboe and bass clarinet” along with Don Williamson/p, Don Prell/b and Chuck Flores on a ’56 gig at Cal Tech and studio session in ’58. On the former, the band is supple and swinging on “Old Devil Moon” and a blending of “How Long Has This Been Going On” and “Tea For Two” which features Cooper on the former on oboe. A 55 meeting with Angelenos Bill Perkins/ts-fl, Shorty Rogers/fh, Hampton Hawes-Jimmy Rowles/p, Red Mitchell-Harry babasin/b and Mel Lewis-Roy Harte/d focuses on Rogers originals such as “Jasmine” and “Shank’s Pranks” or elaborately arranged pieces like Clifford Brown’s “Paradise.” Most intriguing is Shank’s 54 recording with a valve trombone section that includes Maynard Ferguson (!) on some nifty pieces like “Valve in Head” and “Cool Fool” along with a rich reading of “You Don’t Know What Love Is.” Made for driving with the top down on the convertible.
AVID ENTERTAINMENT
www.avidgroup.co.uk