Here are three reissues by UK-based Avid Records that focuses on an overlooked period of one artist, and two overlooked artists in their own right.
Woody Herman made his fame with his first two Herds, but his later years in the 50s and 60s tend to be under-appreciated. This two disc set has him riding high in ’58 with a band that re-visits the halcyon days, without a hint of nostalgia. “Northwest Passage,” “Caldonia” and “Wild Root” sparkle in the hands of Ernie Royal/tp, Al Cohn/ts, Paul Qunichette/ts, Nat Pierce/p and Chubby Jackson/b. Two recordings from 1959 have him with his Fourth Herd which boasts Red Rodney/tp, Royal, Bob Brookmeyer/tb, Nat Adderley/ct and Zoot Sims as they swing with style in “Blues For Indian Jim” and “Summer Nights.” A set at Monterey with a sax section of Sims, Bill Perkins, Richie Kamuca/ts, Med Flory/bs and Don Lanphere/as sizzles through “Four Brothers” and the rhythm team of Victor Feldman/p, Charlie Byrd/g, Monty BUdwig/b and Mel Lewis/dr hit hard on “Like Some Blues Man.” Herman shows his warm clarinet in a quartet session with Pierce, Chuck Andrus/b and Gus Johnson/dr that features excellent reads of “Rose Room” and “Mood Indigo.” A swinging affair!
Hal McKusick is best know for his work with cerebral jazz orchestras in the likes of Boyd Raeburn and Claude Thornhill, but he used his pen along with his alto sax and clarinet to some impressive conclusions as he lead a handful of mid 50s sessions. George Russell arranges an ultra hip small combo of McKusick withBarry Galbraith/g, Osie Johnson/dr and Milt Hinton through suavely chic reads of “This is New” and “These Foolish Things.” McKusick has an icy cool Paul Desmond-styled tone, and it works fantastically here and on the larger ’58 recording that includes Art Farmer/tp, Bill Evans/p, Paul Chambers/b and Connie Kay/dr among others. “Whisper Not” is gloriously haunting, and George Russell’s “Stratosphunk” is film noir in sound. Another ’56 session beefs up the earlier on with some horns, and gets a little clinical on “Lydian Lullaby” and “Tommy Hawk.” Still, the guys throws out some great and challenging ideas.
Pianist/arranger Marty Paich almost single handedly defined the West Coast Sound. His signature is on classic sessions by Mel Torme and Ella Fitzgerald, so it’s wonderful to hear him leading his own recordings on these dates from 1955-60. There are two semi-big band sessions. One from ’55 sparkles with excitement as an all star team that includes a four tenor sax line of Jimmy Giuffre, Bob Cooper, Bob Enevoldsen and Harry Klee shine like chrome from a 49 Buick on “Tenors West” and “Line For Lyons.” Pete Condoli’s trumpet glistens here and also on the ’57 session with Herb Geller/as on toe tappers like “New Soft Shoe” and “Nice and Easy.” The piano comes up front as Paich, Pete Jolly and Jimmy Rowles lead flexible bands with Shelly Manne/dr, Art Pepper/as, Bud Shank/as and some strings on a Quartet recording that gets a bit hokey on “Take Me Along” and “Promise Me A Rose.” Things get better on the rollicking “Honky Tonk Train” and “St Louis Boogie Woogie Blues” and rich reads of “Invitation” and a kicker of “Miserlou.”
Avid Records
www.avidgroup.uk.com