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Donald Byrd

Born in Detroit, MI

Died in Dover, DE

Donald Byrd's Genre:

Hard Bop, Jazz Instrument, Trumpet Jazz, Jazz-Funk, Jazz, Post-Bop, Fusion, Funk, Crossover Jazz, R&B

Biography

Donald Byrd was considered one of the finest hard bop trumpeters of the post-Clifford Brown era. He recorded prolifically as both a leader and sideman from the mid-'50s into the mid-'60s, most often for Blue Note, where he established a reputation as a solid stylist with a clean tone, clear articulation, and a knack for melodicism. Toward the end of the '60s, Byrd became fascinated with Miles Davis' move into fusion, and started recording his own forays into the field. In the early '70s, with the help of brothers Larry and Fonce Mizell, Byrd perfected a bright, breezy, commercially potent take on fusion that was distinct from Davis, incorporating tighter arrangements and more of a smooth soul influence. Opinions on this phase of Byrd's career diverge wildly -- jazz purists utterly despised it, branding Byrd a sellout and the records a betrayal of talent, but enraptured jazz-funk fans regard it as some of the most innovative, enduring work of its kind. In fact, proportionately speaking, Byrd was held in even higher esteem by that audience than by straight-ahead jazz fans who enjoyed his hard bop output.

Donaldson Toussaint L'Ouverture Byrd II was born in Detroit, Michigan, on December 9, 1932. His father, a Methodist minister, was an amateur musician, and Byrd was already an accomplished trumpeter by the time he finished high school, having performed with Lionel Hampton. Byrd served a stint in the Air Force, during which time he played in a military band, and subsequently completed his bachelor's degree in music at Wayne State University in 1954. He moved to New York in 1955 to get his master's at the Manhattan School of Music, and soon began performing with pianist George Wallington's group. In December of that year, he was invited to join Art Blakey's Jazz Messengers, filling a chair once held by his idol, Clifford Brown, and Kenny Dorham. Byrd also began his recording career during this period, leading several sessions (mostly for Savoy) and working often as a sideman, particularly at the Prestige label. He left the Jazz Messengers in 1956 and joined up with Max Roach; he went on to play with the likes of John Coltrane, Sonny Rollins, and Red Garland, and also co-founded the Jazz Lab Quintet with altoist Gigi Gryce in 1957.

In 1958, Byrd signed an exclusive recording contract with Blue Note, and also formed a band with baritonist Pepper Adams, who would remain Byrd's regular partner until 1961. Byrd's Blue Note debut was 1958's Off to the Races, and he and Adams collaborated on a series of excellent hard bop dates over the next three years, including Byrd in Hand (1959), At the Half Note Cafe, Vols. 1-2 (1960), The Cat Walk (1961), and Royal Flush (also 1961), among others. Another 1961 recording, Free Form, found Byrd giving a young Herbie Hancock some of his earliest exposure. Following this burst of activity, Byrd took a sabbatical to continue his studies in Europe, where he spent some time under the tutelage of the legendary French music educator Nadia Boulanger. He returned to the U.S. in 1963 and recorded A New Perspective, a now-classic set that broke new ground by incorporating gospel choirs into its arrangements; its signature piece, "Cristo Redentor," became quite popular.

In the mid-'60s, Byrd focused more of his energies on teaching, and worked diligently to make jazz and its history a legitimate part of the college curriculum. He taught at Rutgers, Hampton, New York University, and Howard in the late '60s, and the last one remained a steady association for much of the '70s. In the meantime, Byrd continued to record occasionally, cutting a final spate of hard bop albums over 1966-1967 that included Mustang! and Blackjack. Byrd also began to study African music, inspired partly by the emerging black-consciousness movement, and became interested in Miles Davis' efforts to woo a younger audience (including Byrd's own students) by experimenting with electronics and funk rhythms. Released in 1969, Fancy Free found Byrd using electric piano for the first time, with a spacy sound that recalled Davis' In a Silent Way. Issued in 1970, Electric Byrd had more of a Bitches Brew flavor, and the jams on 1971's Ethiopian Knights were longer, funkier, and more aggressive.

Byrd truly came into his own as a fusion artist when he hooked up with brothers Larry and Fonce Mizell, who began to handle production, writing, and some musical support duties. Their first collaboration was 1972's Black Byrd, an upbeat, funky blend of jazz and R&B. Jazz critics detested the album and called Byrd all sorts of names, but the record was a smash hit; it became the biggest seller in Blue Note history, and just missed hitting number one on the R&B albums chart. In the wake of its success, Byrd formed a supporting group, the Blackbyrds, who were culled from the cream of his music students at Howard University and recorded through the rest of the '70s. Byrd went on to release a string of successful LPs in partnership with the Mizell Brothers, including the imaginary blaxploitation soundtrack Street Lady (1974), Stepping into Tomorrow (1975), the much-lauded Places and Spaces (1976), and Caricatures (1977). All made the Top Ten on the R&B album charts, and the Places and Spaces single "Change (Makes You Wanna Hustle)" even got substantial play in discotheques. Jazz-funk fans revere this period in general, but usually reserve their highest praise for Street Lady and, especially, Places and Spaces. As a side note to his musical career, Byrd finished law school in 1976, and went on to teach at North Carolina Central University.

Following Caricatures, Byrd parted ways with Blue Note and the Mizell Brothers and moved to Elektra. He recorded several albums over 1978-1983, but even the most commercially successful, 1978's Thank You...for F.U.M.L. (Funking Up My Life), didn't match the infectiousness of his Blue Note jazz-funk outings. In 1982, Byrd received his Ph.D. from Columbia Teachers College. He spent a few years in the mid-'80s away from recording, due in part to ill health, but continued to teach, moving on to North Texas State and Delaware State. In the late '80s and early '90s, Byrd returned to the hard bop of his early days on several sessions for the Landmark label. He participated in rapper Guru's Jazzmatazz project in 1993, and with the advent of the jazz-rap movement and England's acid jazz revival, his '70s albums became hugely popular sources for samples. In the meantime, Byrd continued his activities as a jazz educator. He died in February 2013 at the age of 80. ~ Steve Huey

AOL Radio Stations Donald Byrd is Featured on (10)

Indie Coffee House

Classic Jazz [Non-Voc]

Singers need not at apply on Slacker's Classic Jazz Non-Vocal. This is where the masters of jazz instrumentation live. Tune in and break it down with the greats. You'll hear Louis Armstrong, Lester Young, Charlie Parker, Thelonious Monk, Miles Davis and more!

Classic Jazz

Classic Jazz aims to touch on the whole story of Jazz. From the art of the early masters like Louis Armstrong to the trailblazers of today, the entire arc of this uniquely American music unfolds daily. Examples of early Swing, Big Band, Bebop, Hard-bop, Cool, Modal, Fusion, Latin Jazz, Bossa Nova, and Avante-garde merge into a a rich medley of timeless music.

Acid Jazz

Just what is Acid Jazz? It’s soulful jazz with a funky beat and much more! Acid Jazz on Slacker Radio reflects a mix of pioneering soul/jazz artists from the 60’s and 70’s cross pollinated with reggae and electronica. To top it off, we threw in some R&B classics from the 60’s and 70’s.

Jazz

Jazz on Slacker Radio draws from a rich palette of melodic and improvisational sounds, encompassing all the colors of jazz. From classic to current, from Adderley to Zawinul, you’ll experience listenable but progressive mix.

Modern Jazz

Modern Jazz on Slacker Radio mixes and blends the best of today’s progressive improvising artists with Classic Fusion, Contemporary Brazilian, Acid Jazz, Funk, Jazz Techno, Electronic Jazz, Jam-Band Jazz, World Jazz, Nu-Jazz and indefinable music of the Modern Masters.

Funk

The Aqua Boogie can give you More Bounce to the Ounce with the Magic Voice Box and make you Weak at The Knees! Slacker’s Funk Radio delivers top funk artists Like Parliament, Zapp and Roger, The Bar-Kays and more. Get ready for the Return of the Muthaship baby bubba!

Classic Soul

Classic Soul on Slacker Radio celebrates some of the greatest music ever made, spanning almost 40 years of smooth, soulful tunes that'll make you feel the true power and passion of music.

Disco

Wildly popular in clubs and on radio from the early '70s through the early '80s, Disco on Slacker Radio revisits the divas, supergroups, one-hit wonders, producers and DJ's that made you want to dance.

Donald Byrd

This station plays the best music from and music from related artists like Herbie Hancock, Freddie Hubbard, Miles Davis, John Coltrane, Wes Montgomery, Horace Silver, Thelonious Monk, Lee Morgan, Sonny Rollins, Wayne Shorter and more.

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Donald Byrd's Selected Discography (50)

Caricatures

Black Byrd

19927 Songs

Artists Related to Donald Byrd (50)

	Herbie Hancock	Herbie Hancock will always be one of the most revered and controversial figures in jazz -- just as his employer/mentor Miles Davis was when he was alive.
	Freddie Hubbard	One of the great jazz trumpeters of all time, Freddie Hubbard formed his sound out of the Clifford Brown/Lee Morgan tradition, and by the early '70s was immediately distinctive and the pacesetter in jazz.
	Miles Davis	Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate.
	John Coltrane	Despite a relatively brief career (he first came to notice as a sideman at age 29 in 1955, formally launched a solo career at 33 in 1960, and was dead at 40 in 1967), saxophonist John Coltrane was among the most important, and most controversial, figures in jazz.
	Wes Montgomery	Wes Montgomery was one of the great jazz guitarists, a natural extension of Charlie Christian, whose appealing use of octaves became influential and his trademark.
	Horace Silver	From the perspective of the 21st century, it is clear that few jazz musicians have had a greater impact on the contemporary mainstream than Horace Silver.
	Thelonious Monk	The most important jazz musicians are the ones who are successful in creating their own original world of music with its own rules, logic, and surprises.
	Lee Morgan	A cornerstone of the Blue Note label roster prior to his tragic demise, Lee Morgan was one of hard bop's greatest trumpeters, and indeed one of the finest of the '60s.
	Sonny Rollins	Sonny Rollins will go down in history as not only the single most enduring tenor saxophonist of the bebop and hard bop era, but also as one of the greatest contemporary jazz saxophonists of them all.
	Wayne Shorter	Though some will argue about whether Wayne Shorter's primary impact on jazz has been as a composer or as a saxophonist, hardly anyone will dispute his overall importance as one of jazz's leading figures over a long span of time.
	Cannonball Adderley	One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners.
	Art Blakey	In the '60s, when John Coltrane and Ornette Coleman were defining the concept of a jazz avant-garde, few knowledgeable observers would have guessed that in another 30 years the music's mainstream would virtually bypass their innovations, in favor of the hard bop style that free jazz had apparently supplanted.
	Dexter Gordon	Dexter Gordon had such a colorful and eventful life (with three separate comebacks) that his story would make a great Hollywood movie.
	Charles Mingus	Irascible, demanding, bullying, and probably a genius, Charles Mingus cut himself a uniquely iconoclastic path through jazz in the middle of the 20th century, creating a legacy that became universally lauded only after he was no longer around to bug people.
	Joe Henderson	Joe Henderson is proof that jazz can sell without watering down the music; it just takes creative marketing.
	Stanley Clarke	A brilliant player on both acoustic and electric basses, Stanley Clarke has spent much of his career outside of jazz, although he has the ability to play jazz with the very best.
	McCoy Tyner	It is to McCoy Tyner's great credit that his career after John Coltrane has been far from anti-climatic.
	Kenny Burrell	One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-'50s onward and a standard by which many jazz guitarists gauge themselves to this day.
	Jimmy Smith	Jimmy Smith wasn't the first organ player in jazz, but no one had a greater influence with the instrument than he did; Smith coaxed a rich, grooving tone from the Hammond B-3, and his sound and style made him a top instrumentalist in the 1950s and '60s, while a number of rock and R&B keyboardists would learn valuable lessons from Smith's example.
	Bill Evans	With the passage of time, Bill Evans has become an entire school unto himself for pianists and a singular mood unto himself for listeners.
	Stan Getz	One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard.
	Chick Corea	Chick Corea has been one of the most significant jazzmen since the '60s. Not content at any time to rest on his laurels, he has been involved in quite a few important musical projects, and his musical curiosity has never dimmed.
	Charlie Parker	One of a handful of musicians who can be said to have permanently changed jazz, Charlie Parker was arguably the greatest saxophonist of all time.
	Art Pepper	Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting.
	Ahmad Jamal	A sorely underexposed figure and a major influence on Miles Davis, pianist Ahmad Jamal isn't generally ranked among the all-time giants of jazz, but he impressed fellow musicians and record buyers alike with his innovative, minimalist approach.
	Oscar Peterson	Oscar Peterson was one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson's speed, dexterity, and ability to swing at any tempo were amazing.
	The Crusaders	Back in 1954, Houston pianist Joe Sample teamed up with high school friends tenor saxophonist Wilton Felder and drummer Stix Hooper to form the Swingsters.
	Grover Washington, Jr.	One of the most popular saxophonists of all time, Grover Washington, Jr. was long the pacesetter in his field.
	Roy Ayers	Once one of the most visible and winning jazz vibraphonists of the 1960s, then an R&B bandleader in the 1970s and '80s, Roy Ayers' reputation s now that of one of the prophets of acid jazz, a man decades ahead of his time.
	Clifford Brown	Clifford Brown's death in a car accident at the age of 25 was one of the great tragedies in jazz history.
	Dave Brubeck	In the 1950s and '60s, few American jazz artists were as influential, and fewer still were as popular, as Dave Brubeck.
	Ramsey Lewis	Pianist and composer Ramsey Lewis has been a major figure in contemporary jazz since the late 1950s, playing music with a warm, open personality that's allowed him to cross over to the pop and R&B charts.
	Dizzy Gillespie	Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated.
	Hank Mobley	One of the Blue Note label's definitive hard bop artists, tenor saxophonist Hank Mobley remains somewhat underappreciated for his straightforward, swinging style.
	Weather Report	Weather Report started out as a jazz equivalent of what the rock world in 1970 was calling a "supergroup.
	Pat Metheny	One of the most original guitarists from the '80s onward (he is instantly recognizable), Pat Metheny is a chance-taking player who has gained great popularity but also taken some wild left turns.
	George Benson	George Benson is simply one of the greatest guitarists in jazz history, but he is also an amazingly versatile musician, and that frustrates to no end critics who would paint him into a narrow bop box.
	Wynton Marsalis	The most famous jazz musician since 1980, Wynton Marsalis had a major impact on jazz almost from the start.
	Max Roach	In a profession star-crossed by early deaths -- especially the bebop division -- Max Roach was long a shining survivor, one of the last giants from the birth of bebop.
	Keith Jarrett	Pianist, composer, and bandleader Keith Jarrett is one of the most prolific, innovative, and iconoclastic musicians to emerge from the late 20th century.
	Gerry Mulligan	The most famous and probably greatest jazz baritonist of all time, Gerry Mulligan was a giant. A flexible soloist who was always ready to jam with anyone from Dixielanders to the most advanced boppers, Mulligan brought a somewhat revolutionary light sound to his potentially awkward and brutal horn and played with the speed and dexterity of an altoist.
	Art Farmer	Largely overlooked during his formative years, Art Farmer's consistently inventive playing was more greatly appreciated as he continued to develop.
	The Modern Jazz Quartet	Pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown and drummer Kenny Clarke first came together as the rhythm section of the 1946 Dizzy Gillespie & His Orchestra and they had occasional features that gave the overworked brass players a well-deserved rest.
	John Scofield	One of the "big three" of current jazz guitarists (along with Pat Metheny and Bill Frisell), John Scofield's influence grew in the '90s and continued into the 21st century.
	Coleman Hawkins	Coleman Hawkins was the first important tenor saxophonist and he remains one of the greatest of all time.
	Paul Desmond	Paul Desmond is widely recognized for his genius as a melodic improviser and as the benchmark of cool jazz sax players.
	Branford Marsalis	The oldest of the four musical Marsalis brothers, Branford Marsalis has had an impressive career. After studying at Southern University and Berklee, Branford toured Europe with the Art Blakey big band in the summer of 1980 (playing baritone), played three months with Clark Terry, and then spent five months playing alto with Art Blakey's Jazz Messengers (1981).
	Eddie Harris	Long underrated in the pantheon of jazz greats, Eddie Harris was an eclectic and imaginative saxophonist whose career was marked by a hearty appetite for experimentation.
	Joe Sample	One of the many jazzmen who started out playing hard bop but went electric during the fusion era, Joe Sample was, in the late '50s, a founding member of the Jazz Crusaders along with trombonist Wayne Henderson, tenor saxman Wilton Felder, and drummer Stix Hooper.
	Lester Young	Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach.