Donald Byrd Music

It's top-notched, advanced hard bop. Can stand with any album ever released in the genre. Get it.

Did Van Gelder ever record a rhythm section + 2-3 horns date that would merit a "bad" rating? Even so, many of his Blue Note projects take on a sameness that can discourage acquiring any more by him after the first twenty or so. "Byrd in Flight" may be the exception. Apart from the two tracks with Jackie McLean, the music on this album is light, playful and ceaselessly inventive--full of "merriment," as Nat Hentoff so aptly puts it in his liner notes.

Donald Byrd is easily taken for granted--a relatively soft-spoken, resourceful trumpet voice who eschews drama and virtuosity along with "cute" devices such as half-valving and formulaic hard-bop "riffing." He's rarely venturesome but is unfailing in his fleet yet logical melodic statements and good taste. He's also the perfect foil to Mobley, with whom he had played extensively since 1955. In fact, on each of his six opportunities, Hank has a slight edge over Byrd in melodic invention, emotive playing, and fullness of sound. This date would be some of Mobley's most impressive work for Blue Note prior to his taking Coltrane's place in the Miles Davis Quintet.

The CD reissue rates higher than the original LP not only because of the addition of three infectious tunes and fine solo offerings but because all three tracks feature the better of the two ensembles who split the time on the original. Not that McClean and Workman are weak links, but Mobley and Watkins had few peers on their respective instruments at the time of recording.

Donald Byrd is my second favorite mid-to-late 50s (and a little 60s) straight ahead trumpet player, right behind Diz, and ahead of Miles. This CD shows exactly why, although my favorite Byrd is on other leaders' recordings (he shows up on my top 2 straight ahead sessions of the period - namely the 1957 Red Garland Quintet "Soul Junction", "All Mornin' Long", and "High Pressure" sessions ..and Kenny Burrell's !956-57 New Year's marathon'"All Day" and "All Night" Long' sessions). This CD, though, is as close to flawless as it gets. Hank Mobley and Jackie McLean are strong while alternating next to a soaring Byrd - whose 2 tunes on the original LP: "Ghana", the opener, and "Lex - are fabulous, and Lex Humphries really impresses throughout the entire recording. Piano sideman Duke Pearson's tune "My girl Shirl" is a really smooth, catchy tune, and a great vehicle for McLean. Reggie Workman and Doug Watkins share the bass work - Watkins with Mobley(#1, 3, 4, 7-9), and Workman with McLean(#2, 5,6). Since Byrd 'flew away', musically, not that long after this from my tastes...Miles away, in fact, I cherish this CD along with the others mentioned above as some of the best and tasteful trumpet ever played. When people start to wax poetic about Miles, I always come back with one word. Byrd. And they always smile knowingly. "No," I tell them, "DONALD Byrd.

If "Byrd In Flight" is not Donald Byrd's best album as a leader, then it certainly is among them. I'm not much for Byrd's straight ahead jazz of the 50s (I'd give "Byrd In Hand" 3 stars if it was still available), and I'm definitely not a fan of his soul/funk jazz for Blue Note in the late 60s. However, this album is just classic, intelligent hard bop, and I see the reason for its success being twofold. First, there are great musicians. Jackie McLean and Hank Mobley alternate with Byrd in the frontline, and Reggie Workman and Doug Watkins switch off and on on bass. Duke Pearson (piano) and Lex Humphries (drums), along with Byrd of course, are the only musicians to play on all nine tracks, which were recorded during three different sessions in 1960. Second and most important is the strength and creativity of the album's original compositions, split evenly between Byrd and Pearson, with one song a standard. Generally Byrd was not a great writer but he must have been inspired by Pearson, the author of such classics as "Idle Moments." Byrd's "Ghana," with its afro-cuban flavored rhythms, and "Lex," for the drummer, are the album's standout tunes. This limited edition CD also features three bonus tracks that were not on the original vinyl. Get "Byrd In Flight" before it flies away.

Before his foray into soul/electric funk, trumpeter Donald Byrd was a Blue Note staple, and arguably one of the finest trumpeters from the late 50s through the 60s, right up there with Lee Morgan and Freddie Hubbard. This session is NO DOUBT one of Byrd's greatest performances, SPECTACULAR, intelligent, balanced, and eminently good end to end. Highest possible recommendation. Donald Byrd is underappreciated. This album should put to rest any doubts about power, and his contribution to the music.

It's top-notched, advanced hard bop. Can stand with any album ever released in the genre. Get it.

Did Van Gelder ever record a rhythm section + 2-3 horns date that would merit a "bad" rating? Even so, many of his Blue Note projects take on a sameness that can discourage acquiring any more by him after the first twenty or so. "Byrd in Flight" may be the exception. Apart from the two tracks with Jackie McLean, the music on this album is light, playful and ceaselessly inventive--full of "merriment," as Nat Hentoff so aptly puts it in his liner notes.

Donald Byrd is easily taken for granted--a relatively soft-spoken, resourceful trumpet voice who eschews drama and virtuosity along with "cute" devices such as half-valving and formulaic hard-bop "riffing." He's rarely venturesome but is unfailing in his fleet yet logical melodic statements and good taste. He's also the perfect foil to Mobley, with whom he had played extensively since 1955. In fact, on each of his six opportunities, Hank has a slight edge over Byrd in melodic invention, emotive playing, and fullness of sound. This date would be some of Mobley's most impressive work for Blue Note prior to his taking Coltrane's place in the Miles Davis Quintet.

The CD reissue rates higher than the original LP not only because of the addition of three infectious tunes and fine solo offerings but because all three tracks feature the better of the two ensembles who split the time on the original. Not that McClean and Workman are weak links, but Mobley and Watkins had few peers on their respective instruments at the time of recording.

Donald Byrd is my second favorite mid-to-late 50s (and a little 60s) straight ahead trumpet player, right behind Diz, and ahead of Miles. This CD shows exactly why, although my favorite Byrd is on other leaders' recordings (he shows up on my top 2 straight ahead sessions of the period - namely the 1957 Red Garland Quintet "Soul Junction", "All Mornin' Long", and "High Pressure" sessions ..and Kenny Burrell's !956-57 New Year's marathon'"All Day" and "All Night" Long' sessions). This CD, though, is as close to flawless as it gets. Hank Mobley and Jackie McLean are strong while alternating next to a soaring Byrd - whose 2 tunes on the original LP: "Ghana", the opener, and "Lex - are fabulous, and Lex Humphries really impresses throughout the entire recording. Piano sideman Duke Pearson's tune "My girl Shirl" is a really smooth, catchy tune, and a great vehicle for McLean. Reggie Workman and Doug Watkins share the bass work - Watkins with Mobley(#1, 3, 4, 7-9), and Workman with McLean(#2, 5,6). Since Byrd 'flew away', musically, not that long after this from my tastes...Miles away, in fact, I cherish this CD along with the others mentioned above as some of the best and tasteful trumpet ever played. When people start to wax poetic about Miles, I always come back with one word. Byrd. And they always smile knowingly. "No," I tell them, "DONALD Byrd.

If "Byrd In Flight" is not Donald Byrd's best album as a leader, then it certainly is among them. I'm not much for Byrd's straight ahead jazz of the 50s (I'd give "Byrd In Hand" 3 stars if it was still available), and I'm definitely not a fan of his soul/funk jazz for Blue Note in the late 60s. However, this album is just classic, intelligent hard bop, and I see the reason for its success being twofold. First, there are great musicians. Jackie McLean and Hank Mobley alternate with Byrd in the frontline, and Reggie Workman and Doug Watkins switch off and on on bass. Duke Pearson (piano) and Lex Humphries (drums), along with Byrd of course, are the only musicians to play on all nine tracks, which were recorded during three different sessions in 1960. Second and most important is the strength and creativity of the album's original compositions, split evenly between Byrd and Pearson, with one song a standard. Generally Byrd was not a great writer but he must have been inspired by Pearson, the author of such classics as "Idle Moments." Byrd's "Ghana," with its afro-cuban flavored rhythms, and "Lex," for the drummer, are the album's standout tunes. This limited edition CD also features three bonus tracks that were not on the original vinyl. Get "Byrd In Flight" before it flies away.

Before his foray into soul/electric funk, trumpeter Donald Byrd was a Blue Note staple, and arguably one of the finest trumpeters from the late 50s through the 60s, right up there with Lee Morgan and Freddie Hubbard. This session is NO DOUBT one of Byrd's greatest performances, SPECTACULAR, intelligent, balanced, and eminently good end to end. Highest possible recommendation. Donald Byrd is underappreciated. This album should put to rest any doubts about power, and his contribution to the music.