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Donald Byrd Near Mint-Mint condition vinyl,appears clean like new with slight use.Cover in very nice shape,clean with light aging except spine wear. Blue Note Records # 84259,original stereo pressing,Van Gelder stamped on dead wax. DONALD BYRD Blackjack Limited Blue Note Vinyl LP. Brand New - Still Sealed. Label: Blue Note. Featured Tracks: A1 Blackjack 6:14. A2 West Of The Pecos 5:17. B1 Eldorardo 7:58. B2 Beale Street 5:24. B3 Pentatonic 4:57. Please note: Buyers with less than 20 feedbacks must use the signed for service. I offer postage discounts.
R,I.P MR. BYRD....THANK YOU FOR THE GREAT MEMORIES AND GREAT MUSIC!
Review by Steve Huey: Purists howled with indignation when Donald Byrd released Black Byrd, a full-fledged foray into R&B that erupted into a popular phenomenon. Byrd was branded a sellout and a traitor to his hard bop credentials, especially after Black Byrd became the biggest-selling album in Blue Note history. What the elitists missed, though, was that Black Byrd was the moment when Byrd's brand of fusion finally stepped out from under the shadow of his chief influence, Miles Davis, and found a distinctive voice of its own. Never before had a jazz musician embraced the celebratory sound and style of contemporary funk as fully as Byrd did here -- not even Davis, whose dark, chaotic jungle-funk stood in sharp contrast to the bright, breezy, danceable music on Black Byrd. Byrd gives free rein to producer/arranger/composer Larry Mizell, who crafts a series of tightly focused, melodic pieces often indebted to the lengthier orchestrations of Isaac Hayes and Curtis Mayfield. They're built on the most straightforward funk rhythms Byrd had yet tackled, and if the structures aren't as loose or complex as his earlier fusion material, they make up for it with a funky sense of groove that's damn near irresistible. Byrd's solos are mostly melodic and in-the-pocket, but that allows the funk to take center stage. Sure, maybe the electric piano, sound effects, and Roger Glenn's ubiquitous flute date the music somewhat, but that's really part of its charm. Black Byrd was state-of-the-art for its time, and it set a new standard for all future jazz/R&B/funk fusions -- of which there were many. Byrd would continue to refine this sound on equally essential albums like Street Lady and the fantastic Places and Spaces, but Black Byrd stands as his groundbreaking signature statement.
Show moreReview by Steve Huey: Purists howled with indignation when Donald Byrd released Black Byrd, a full-fledged foray into R&B that erupted into a popular phenomenon. Byrd was branded a sellout and a traitor to his hard bop credentials, especially after Black Byrd became the biggest-selling album in Blue Note history. What the elitists missed, though, was that Black Byrd was the moment when Byrd's brand of fusion finally stepped out from under the shadow of his chief influence, Miles Davis, and found a distinctive voice of its own. Never before had a jazz musician embraced the celebratory sound and style of contemporary funk as fully as Byrd did here -- not even Davis, whose dark, chaotic jungle-funk stood in sharp contrast to the bright, breezy, danceable music on Black Byrd. Byrd gives free rein to producer/arranger/composer Larry Mizell, who crafts a series of tightly focused, melodic pieces often indebted to the lengthier orchestrations of Isaac Hayes and Curtis Mayfield. They're built on the most straightforward funk rhythms Byrd had yet tackled, and if the structures aren't as loose or complex as his earlier fusion material, they make up for it with a funky sense of groove that's damn near irresistible. Byrd's solos are mostly melodic and in-the-pocket, but that allows the funk to take center stage. Sure, maybe the electric piano, sound effects, and Roger Glenn's ubiquitous flute date the music somewhat, but that's really part of its charm. Black Byrd was state-of-the-art for its time, and it set a new standard for all future jazz/R&B/funk fusions -- of which there were many. Byrd would continue to refine this sound on equally essential albums like Street Lady and the fantastic Places and Spaces, but Black Byrd stands as his groundbreaking signature statement.
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Blackjack Donald Byrd Murder
| Black Byrd | |||
|---|---|---|---|
| Studio album by | |||
| Released | 1973 | ||
| Recorded | April 3 & 4, 1972 at The Sound Factory, Hollywood | ||
| Genre | Jazz-funk | ||
| Length | 44:21 | ||
| Label | Blue Note | ||
| Producer | Larry Mizell | ||
| Donald Byrd chronology | |||
|
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic | [1] |
| The Rolling Stone Jazz Record Guide | [2] |
Donald Byrd You And Music
Black Byrd is a 1973 album by Donald Byrd and the first of his Blue Note albums to be produced by Larry Mizell, assisted by his brother, former Motown producer Fonce. In the jazz funk idiom, it is among Blue Note Records' best selling album releases. The title of the album inspired the name of Byrd's apprentice group, The Blackbyrds.
Track listing[edit]
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | 'Flight Time' | Larry Mizell | 8:27 |
| 2. | 'Black Byrd' | Larry Mizell | 8:00 |
| 3. | 'Love's So Far Away' | Larry Mizell | 6:00 |
| 4. | 'Mr. Thomas' | Larry Mizell, Warren Jordan | 5:15 |
| 5. | 'Sky High' | Larry Mizell | 5:59 |
| 6. | 'Slop Jar Blues' | Larry Mizell | 6:00 |
| 7. | 'Where Are We Going?' | Larry Mizell, Larry Gordon | 4:40 |
Personnel[edit]
- Donald Byrd - trumpet, flugelhorn, electric trumpet, vocals
- Allen Curtis Barnes - flute, oboe, saxophone
- Roger Glenn - saxophone, flute
- Fonce Mizell - trumpet, vocals
- Larry Mizell - vocals
- Kevin Toney - piano
- Freddie Perren - piano, synthesizer, vocals
- Dean Parks, David T. Walker, Barney Perry - guitar
- Joe Sample - piano, electric piano
- Chuck Rainey, Wilton Felder, Joe Hill - bass
- Harvey Mason, Sr, Keith Killgo - drums
- Bobbye Hall Porter, Perk Jacobs, Stephanie Spruill - percussion
- King Errisson - congas and bongos
References[edit]
- ^Huey, Steve (2011). 'Black Byrd - Donald Byrd | AllMusic'. allmusic.com. Retrieved 1 August 2011.
- ^Swenson, J., ed. (1985). The Rolling Stone Jazz Record Guide. USA: Random House/Rolling Stone. p. 36. ISBN0-394-72643-X.
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic | [1] |
| The Rolling Stone Jazz Record Guide | [2] |
Donald Byrd You And Music
Black Byrd is a 1973 album by Donald Byrd and the first of his Blue Note albums to be produced by Larry Mizell, assisted by his brother, former Motown producer Fonce. In the jazz funk idiom, it is among Blue Note Records' best selling album releases. The title of the album inspired the name of Byrd's apprentice group, The Blackbyrds.
Track listing[edit]
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | 'Flight Time' | Larry Mizell | 8:27 |
| 2. | 'Black Byrd' | Larry Mizell | 8:00 |
| 3. | 'Love's So Far Away' | Larry Mizell | 6:00 |
| 4. | 'Mr. Thomas' | Larry Mizell, Warren Jordan | 5:15 |
| 5. | 'Sky High' | Larry Mizell | 5:59 |
| 6. | 'Slop Jar Blues' | Larry Mizell | 6:00 |
| 7. | 'Where Are We Going?' | Larry Mizell, Larry Gordon | 4:40 |
Personnel[edit]
- Donald Byrd - trumpet, flugelhorn, electric trumpet, vocals
- Allen Curtis Barnes - flute, oboe, saxophone
- Roger Glenn - saxophone, flute
- Fonce Mizell - trumpet, vocals
- Larry Mizell - vocals
- Kevin Toney - piano
- Freddie Perren - piano, synthesizer, vocals
- Dean Parks, David T. Walker, Barney Perry - guitar
- Joe Sample - piano, electric piano
- Chuck Rainey, Wilton Felder, Joe Hill - bass
- Harvey Mason, Sr, Keith Killgo - drums
- Bobbye Hall Porter, Perk Jacobs, Stephanie Spruill - percussion
- King Errisson - congas and bongos
References[edit]
- ^Huey, Steve (2011). 'Black Byrd - Donald Byrd | AllMusic'. allmusic.com. Retrieved 1 August 2011.
- ^Swenson, J., ed. (1985). The Rolling Stone Jazz Record Guide. USA: Random House/Rolling Stone. p. 36. ISBN0-394-72643-X.
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Black_Byrd&oldid=844983049'
