| Donald Byrd | |||
| Birth Name: | Donaldson Toussaint L'Ouverture Byrd II | ||
| Birth Date: | 9 December 1932 | ||
| Birth Place: | Detroit, Michigan, U.S. | ||
| Death Place: | Dover, Delaware, U.S. | ||
| Occupation: | Musician | ||
| Years Active: | 1954–2013 | ||
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Donaldson Toussaint L'Ouverture Byrd II[1] (December 9, 1932 – February 4, 2013) was an American jazz and rhythm & blues trumpeter and vocalist.[2] A sideman for many other jazz musicians of his generation, Byrd was one of the few hard bop musicians who successfully explored funk and soul while remaining a jazz artist. As a bandleader, Byrd was an influence on the early career of Herbie Hancock and many others.
Byrd was born in 1932 in Detroit, Michigan. His family came from the African-American middle-class. His father, Elijah Thomas Byrd, was a Methodist minister who greatly valued education and oversaw his son's schooling.[3] [4] His mother, Cornelia Taylor, introduced Byrd to jazz music and it was her brother who gave Byrd his first trumpet. He attended Cass Technical High School. He performed with Lionel Hampton before finishing high school. During this period, his first professional recording session was in 1949 at Fortune Records in Detroit with the Robert Barnes Sextette for the single "Black Eyed Peas" / "Bobbin' At Barbee's." After playing in a military band during a term in the United States Air Force, Byrd obtained a bachelor's degree in music from Wayne State University and a master's degree from Manhattan School of Music.[5] While still at the Manhattan School, he joined Art Blakey's Jazz Messengers as Clifford Brown's successor. In 1955, he recorded with Gigi Gryce, Jackie McLean and Mal Waldron. After leaving the Jazz Messengers in 1956, he performed with many leading jazz musicians of the day, including John Coltrane, Sonny Rollins, Thelonious Monk, and later Herbie Hancock.[2]
Byrd's first regular group was a quintet that he co-led from 1958 to 1961 with baritone saxophonist Pepper Adams. The ensemble's hard-driving performances are captured live on At the Half Note Cafe.[2] Byrd's 1961 LP Royal Flush was Hancock's Blue Note debut. Hancock has credited Byrd as a key influence in his early career, recounting that Byrd took the young pianist "under his wing" when he was a struggling musician newly arrived in New York, even letting him sleep on a hide-a-bed in his Bronx apartment for several years.
Hancock also recalled that Byrd helped him in many other ways: he encouraged Hancock to make his debut album for Blue Note, connected him with Mongo Santamaria, who turned Hancock's tune "Watermelon Man" into a chart-topping hit, and that Byrd also later urged him to accept Miles Davis' offer to join his quintet.[6]
Hancock also credits Byrd with giving him one of the most important pieces of advice of his career – not to give away his publishing rights. When Blue Note offered Hancock the chance to record his first solo LP, label executives tried to convince him to relinquish his publishing in exchange for being able to record the album, but he stuck to Byrd's advice and refused, so the meeting came to an impasse. At this point, he stood up to leave and when it became clear that he was about to walk out, the executives relented and allowed him to retain his publishing. Thanks to Santamaria's subsequent hit cover version of "Watermelon Man", Hancock was soon receiving substantial royalties, and he used his first royalty check of $6,000 to buy his first car, a 1963 Shelby Cobra (also recommended by Byrd) which Hancock still owns, and which is now the oldest production Cobra still in its original owner's hands.[7]
In June 1964, Byrd played with Eric Dolphy in Paris only two weeks before Dolphy died from insulin shock.
By 1969's Fancy Free, Byrd was moving away from the hard bop jazz idiom and began to record jazz fusion and jazz-funk. He teamed up with the Mizell Brothers (producer-writers Larry and Fonce) for Black Byrd (1973) which was, for many years, Blue Note's best-selling album.[8] [9] The title track climbed to No. 19 on Billboard R&B chart and reached the Hot 100 pop chart, peaking at No. 88. The Mizell brothers' follow-up albums for Byrd, Street Lady, Places and Spaces and Stepping into Tomorrow, were also big sellers, and have subsequently provided a rich source of samples for acid jazz artists such as Us3. Most of the material for the albums was written by Larry Mizell.
In 1973, he helped to establish and co-produce the Blackbyrds, a fusion group consisting of then-student musicians from Howard University,[2] where Byrd taught in the music department and earned his J.D. in 1976. They scored several major hits including "Happy Music" (No. 3 R&B, No. 19 pop), "Walking in Rhythm" (No. 4 R&B, No. 6 pop) and "Rock Creek Park".
During his tenure at North Carolina Central University during the 1980s, he formed a group which included students from the college called the "125th St NYC Band". They recorded three albums; Love Byrd and Words, Sounds, Colors and Shapes which featured Isaac Hayes.[10] "Love Has Come Around" on Love Byrd became a disco hit, reaching number No. 4 on Billboard's U.S. Dance Club Songs[11] and in the UK and reached No. 41 on the charts.
Beginning in the 1960s, Byrd (who eventually gained his PhD in music education from Teachers College, Columbia University in 1982) taught at a variety of postsecondary institutions, including Rutgers University, the Hampton Institute, New York University, Howard University, Queens College, Oberlin College, Cornell University, North Carolina Central University and Delaware State University.[12] Byrd returned to somewhat straight-ahead jazz later in his career, recording three albums for Orrin Keepnews' Landmark Records.
Byrd was a resident of Teaneck, New Jersey.[13] He died on February 4, 2013, in Dover, Delaware, at age 80.
| Recording date | Title / Co-leader | Label | Year released | Notes | |
|---|---|---|---|---|---|
| 1955-08 | Byrd Jazz | Transition | 1956 | Live | |
| 1955-09 | Byrd's Word | Savoy | 1956 | ||
| 1955-12 | Byrd's Eye View | Transition | 1956 | ||
| 1956-05 | Byrd Blows on Beacon Hill | Transition | 1957 | ||
| 1956-08 | 2 Trumpets with Art Farmer | Prestige | 1957 | ||
| 1956-08, 1956-09 | Modern Jazz Perspective with Gigi Gryce | Columbia | 1957 | ||
| 1956-11 | The Young Bloods with Phil Woods | Prestige | 1957 | ||
| 1957-02, 1957-03 | Jazz Lab with Gigi Gryce | Columbia | 1957 | ||
| 1957-08 | At Newport with Gigi Gryce and Cecil Taylor | Verve | 1958 | Live | |
| 1957-07, 1957-08 | New Formulas from the Jazz Lab with Gigi Gryce | Vik | 1982 | ||
| 1957-08 | Jazz Lab with Gigi Gryce | Jubilee | 1958 | ||
| 1957-08, 1957-09 | Modern Jazz Perspective with Gigi Gryce | Columbia | 1957 | ||
| 1957-09 | Jazz Eyes | Regent | 1957 | ||
| 1957-? | September Afternoon with Clare Fischer | Discovery | 1982 | [14] [15] | |
| 1958-10 | Byrd In Paris | Brunswick | 1958 | ||
| 1958-12 | Off to the Races | Blue Note | 1959 | ||
| 1959-05 | Byrd in Hand | Blue Note | 1959 | ||
| 1959-10 | Fuego | Blue Note | 1960 | ||
| 1960-01, 1960-07 | Byrd in Flight | Blue Note | 1960 | ||
| 1960 | Motor City Scene with Pepper Adams | Bethlehem | 1961 | ||
| 1960-11 | At the Half Note Cafe | Blue Note | 1960 | Live | |
| 1961-04 | Chant | Blue Note | 1979 | LT series | |
| 1961-05 | The Cat Walk | Blue Note | 1962 | ||
| 1961-09 | Royal Flush | Blue Note | 1962 | ||
| 1961-12 | Free Form | Blue Note | 1966 | ||
| 1963-01 | A New Perspective | Blue Note | 1964 | ||
| 1964-10, 1964-11, 1964-12 | Up with Donald Byrd | Verve | 1965 | ||
| 1964-12 | I'm Tryin' to Get Home | Blue Note | 1965 | ||
| 1966-06 | Mustang | Blue Note | 1967 | ||
| 1967-01 | Blackjack | Blue Note | 1968 | ||
| 1967-05 | Slow Drag | Blue Note | 1968 | ||
| 1967-10 | The Creeper | Blue Note | 1981 | LT series | |
| 1969-05, 1969-06 | Fancy Free | Blue Note | 1970 | ||
| 1970-05 | Electric Byrd | Blue Note | 1970 | ||
| 1969-12, 1970-12 | Kofi | Blue Note | 1995 | ||
| 1971-08 | Ethiopian Knights | Blue Note | 1972 | ||
| 1972-04 | Black Byrd | Blue Note | 1973 | ||
| 1973-06 | Street Lady | Blue Note | 1973 | ||
| 1973-07 | Live: Cookin' with Blue Note at Montreux | Blue Note | 2022 | Live | |
| 1974-11, 1974-12 | Stepping into Tomorrow | Blue Note | 1975 | ||
| 1975-08 | Places and Spaces | Blue Note | 1975 | ||
| 1976-04, 1976-05 | Caricatures | Blue Note | 1976 | ||
| 1978-02 – 1978-07 | Thank You...For F.U.M.L. (Funking Up My Life) | Elektra | 1978 | ||
| 1979-08, 1979-09 | Donald Byrd and 125th Street, N.Y.C. | Elektra | 1979 | ||
| 1981? | Love Byrd | Elektra | 1981 | ||
| 1982 | Words, Sounds, Colors and Shapes | Elektra | 1982 | ||
| 1987-09 | Harlem Blues | Landmark | 1988 | ||
| 1989-10 | Getting Down to Business | Landmark | 1990 | ||
| 1991-01 | A City Called Heaven | Landmark | 1991 |
With Art Blakey
With Kenny Burrell
With Paul Chambers
With Sonny Clark
With Kenny Clarke
With John Coltrane
With Eric Dolphy
With Lou Donaldson
With Red Garland
With Dexter Gordon
With Guru
With Hank Jones
With Hank Mobley
With Jackie McLean
With Duke Pearson
With Oscar Pettiford
With Sonny Rollins
With Horace Silver
With Jimmy Smith
With George Wallington
With others