Chet Baker
Chet

Art Blakey/Jazz Messengers
Caravan

Bill Evans
Everybody Digs Bill Evans

Jimmy Heath
Really Big!

Flora Purim
Butterfly Dreams
Concord Music
Keepnews Collection

The great thing about reissues is that a review if them is never out of date. While these came out a few months ago, they are still noteworthy reflections of the halcyon days of jazz. Producer/founder of Riverside Records Orrin Keepnews is cherry picking his favorite sessions, cleaning up the production, and adding some interesting insight on the liner notes in this essential series of reissues.

Either in spite of, or because of, the lack of vocals on this 58-59 recording, “Chet” is usually one of the most popular releases by the tormented trumpeter. His gentle horn works to greatest advantage on this collection of subdued standards like “Alone Together” and “September Song.” Lyrical and lonely, he is perfectly matched in musical temperament by Bill Evans (p), Kenny Burrell (g), Paul Chambers (b) and Philly Joe Jones or Connie Kay (d). Pepper Adams and Herbie Mann add to the mood with dreamy bari and flute work. This is music to build a dream on, when California cool was completely smog free.

Drummer Art Blakey lead one of his hardest driving bands, a seamless sextet that included a youthful and energetic set of young men like Wayne Shorter and Freddie Hubbard. Both men contributed to the writing chores, and their front line, along with Curtis Fuller on trombone, was formidable, to say the least. Cedar Walton and Reggie Workman complete the V8 rhythm section, which tears through the likes of “Caravan” and “Thermo”. The surprise here is the beautiful ballad work; Hubbard is luminescent on “Skylark”, and Fuller is warm and gentle on the latter. Still fresher than 90% of what most bands put out today, and, judging by the photos, a bit better dressed as well!

Bill Evans hadn’t formed his “classic” trio yet, but this record represents a band that was dangerously close. All throughout his career, Evans seemed to weave in and out of drummer Philly Joe Jones’ path. This early work, along with drummer Sam Jones, is considered his first tried and true success. Recorded just before “Kind of Blue” in 1958, this session features definitive versions of the gentle “Peace Piece” and the swinging “Oleo.” Jones’ drumming adds an extra sock on songs like “Night and Day”, and Evans’ harmonic complexities are in full blossom. A definitive desert island disc.

Tenorist Jimmy Heath is still with us, and sounds good as ever. Never having as high a profile as his brothers, he has managed to put out a remarkable series of highly original sessions. This one from 1960 may well be his best. Featuring a 10 man “mini-big band” consisting of Clark Terry, Nat and Cannonbal Adderley and Pat Patrick (!), Heath puts together a set of clever and undeniably swinging arrangements of standards and originals. The bluesy “Nails” with Cannonball slamming it on the alto, is a kicker, and the richly melodic work on ”My Ideal” is an aural joy. This disc is so unified conceptually, that it could almost be considered a suite. As seamless as an Italian suit.

Vocalist Flora Purim, along with husband/percussionist Airto Moreira, took the fusion world by the storm back in the early 70s, working with Return to Forever. This, her first solo recording, is also her best. With a supporting cast of Joe Henderson, George Duke and Stanley Clarke, Flora can do no wrong. Heavily percussive and plugged in, the band is rocking on songs like “Dr. Jive” and “Light as a Feather”. Her vocals are incandescent, particularly on the lovely standard “Dindi”. Most music (and film) from the 70s has not aged well. This one is an exception, and is in fact a highlight from the nascent fusion era.