Album of the week: Donald Byrd - Byrd in Hand

[AfricaBrass]

As discussed in a previous thread: Album of the week thread, we are launching the Organissimo Forums Album of the Week. Hopefull we can all spend the next week digesting this record and we can write reviews of it.

Hopefully, this will be a weekly thread. The person who picks the cd for this week will nominate the person who will pick the cd for next week.

The album for the week of March 23-29 as picked by couw is:

Donald Byrd - Byrd in Hand (click to buy)

[Big Al]

Oh, this is SUCH a beautiful album. So good, in fact, it made me get the whole Byrd/Adams Mosaic (and let me tell you, THAT was money well spent!)

Someone on a thread at the old BN Bored referred to Charlie Rouse's horn as a "Monk-o-phone," and I can't think of a better description. Everyone is on their game here, especially Sam Jones & Art Taylor, as flawless a bass/drum team as you'll ever find.

More later......

[wesbed]

Someone on a thread at the old BN Bored referred to Charlie Rouse's horn as a "Monk-o-phone," and I can't think of a better description.

I'm the one who wrote the "Monk-o-phone" post at the BNBB. I'm wishing I could pull my words off the BNBB and enter them here. But...

[AfricaBrass]

I've had this cd for years and I've only listened a couple times to it. I'm looking forward to digging into it this coming week.

:rsmile:

[Big Al]

ALright, I'm listening to this right now. "Witchcraft," with its walking intro and lovely sectionals; and "Here Am I" with its even lovelier vamp, are reason enough to pick this up pronto.

Then there's "Devil Whip" which lives up to its title. Maybe this was the tune that caused Olivarez to coin the "Monk-o-phone" phrase I mentioned earlier. First there's Byrd's beautiful phrasing and improv; then Adams comes slashing in at all angles; then, just when you think it can't get any better, here comes Rouse on his "Monk-o-phone," showing just how good he was outside the Monk sphere! (p'doom KSSHHHH!!!!)

Sooooo, then there's "Bronze Dance," the first of two pieces by the wildly underrated pianist Walter Davis Jr. More lovely sectionals are included in the short vamps, and the composer really shines both in his compings and his solo.

One other thing, this album made me appreciate even more the precision and attack of Art Taylor. I have to confess to not giving Art his props over the years, as I always thought he was just another timekeeper. Oh how WRONG I've been! Between this and the albums he did with Red Garland, that whole "just another timekeeper" bullshit flies right out the window!

I'm too tired to delve into details about "Clarion Calls," except to say that just because I'm not flying off on a tangent about it doesn't diminish its importance on the album. I'm just leaving it out there for more capable (and awake) hands than mine.

The closer "The Injuns" gives Byrd space to riff on the "Cherokee" and prove once and for all he's not just another Brownie imitator. Far from it!

AfricaBrass, this is was a GREAT idea! I can't wait to see what everyone else has to say, and what next week's album is!

[AfricaBrass]

Thanks for your enthusiasm Big Al!

Your review is making me want to listen to it right now. I'm kicking myself because I just realized that my copy is in a box somewhere (I just moved). I thought I had unpacked it already. Aaaargh! (It will just give me some time to listen to that freaky Attica Blues instead).

I hope to have my copy unpacked tomorrow.

Jazzmoose already picked the next album for review. It will be Wayne Shorter's All Seeing Eye. Check the album review thread for details. Album review thread

:rsmile: :rsmile:

[JohnS]

Nice idea. If nothing else it's made me pull my King Records issue of the shelf for the first time in I don't know how many years. I don't know about the latest remastering but my this vinyl edition is pretty good soundwise to my ears.

Donald sounds fine. I particularly like his fast playing as on The Injuns rather than the more lyrical solos on this album. Rouse is great, on good form, a very personal and underrated player. I'm never sure about Pepper Adams, (sorry you Pepper fans), he always seems to have too many mannerisms for comfort. The rhythm section is fine and I always enjoy Taylor's timekeeping.

I don't think this is my favourite Byrd album, I'd go back a two or three years, I wouldn't want to say what to at the moment.

[Saint Vitus]

I gotta listen to this again (and probably will have more to say about it later) ... but the first thing that comes to mind when I think of Bird in Hand is the growling baritone (nay, the varitone) sound. Of all Byrd/Adams records, this is one where Pepper seems to take charge. I have no remembrance of Rouse's contribution on this ... but I could be in for a pleasant surprise based on the comments made here.

A nice idea revived ... Bravo!

[AfricaBrass]

This is a nice date. I've never been a big fan of the song "Witchcraft", but when they get past the theme and open up it's really nice. I have been enjoying Rouse's contribution. I can see why some might not like Adams, but I like the interplay and colors that this combination brings.

Back to listening. :rsmile:

[Alexander Hawkins]

My impressions on this:

1) It's really nice to hear Charlie Rouse in the non-Monk context. With my very limited jazz knowledge, I don't think I've heard him without Monk before!

2) Byrd by this date really doesn't sound that much like Brownie, to my ears at least.

3) He's got a beautiful tone! Here Am I, for instance, showcases it really nicely. The general tenor of this tune reminds me a bit of Herbie's 'Tribute to Somebody' (or whatever it's called - can't think of the top of my head!) on the 'My Point of View' album.

4) Pepper Adams is a fantastic foil for Byrd. I think his style compliments Byrd's lyricism very nicely, and, especially on the more down-tempo ballad-ish pieces like 'Here Am I', stops things getting too saccharine.

5) Are there some slightly funny things going on with A.T.'s timing with the kicks towards the end of Davis' solo on the opening track?

But this is definitely a cool album!

Edited March 23, 2003 by Red

[paul secor]

I've only had this recording for a short time, but here are some initial thoughts:

I"ve never been a big Donald Byrd fan. I'm sure this stems from hearing a Buffalo, N.Y. dj play "Christo Redentor" many, many times on his weekly jazz radio show when I was in college. I hated that record from the first time I heard it. Since then, I have come to enjoy Byrd's playing on some Blakey Columbia sides and on his own LP, The Cat Walk.

So far, I'm finding Byrd In Hand to be a good record which has its moments. Some of them:

"Here Am I" - I'm not usually a big fan of vamp tunes, but this one is a fine one. Byrd takes a good solo, as does Charlie Rouse. I enjoy Rouse's woody sound whenever I hear it.

"Witchcraft" - Another good Byrd solo and Pepper Adams has his moments here too.

"Bronze Dance" - Rouse does a nice job of playing out of Pepper's solo without missing a beat.

Sam Jones' playing throughout is as unnoticeable and as irreplaceble as a heartbeat.

A.T. plays some accents that grabbed my attention while the heads were being played. Otherwise he keeps the flow going, which is fine with me.

"The Injuns" - This tune sounds corny to me. Why not just do "Cherokee"? - Not hip enough or maybe a way for Byrd to pick up some royalties? Byrd takes an ok solo, but Bob Blumenthal's liner note comparison with Clifford's 1953 "Cherokee" solo is a bad one, IMO. Byrd's solo can stand alone as a decent one, but don't put it up next to Brownie's.

This thread is a great idea. I'm looking forward to future participations.

[AfricaBrass]

It's nice to read your thoughts, Red and Paul.

I'm really enjoying this album. I've had it on all day. I've really warmed up to the instrument combination. It's really nice getting a chance to digest the music. I went for a long time buying so many cds, I didn't get a chance to know all of them. It's helping me get really excited about jazz again.

I too, look forward to this thread continuing. I hope it does.

:rsmile:

[Chuck Nessa]

I always thought this was a solid Byrd date. I never understood the attraction to Adams as a soloist. He's of benefit in ensembles, but his solos seem to be pieced together from a file of 120 licks. Walter Davis and the rest of the band are positive influences on the date. I just don't "get" Pepper.

A solid 3.5 stars for this date.

I always wondered if it was Miles. Lion or Wolff who titled the album. The photo is obviously the inspiration.

Edited March 24, 2003 by Chuck Nessa

[Jazzmoose]

I, on the other hand, find Pepper Adams to be the glue that holds this session together. I didn't have this previously, so I've been giving the disc some serious hard core "cram" listening over the last two days. Keep this in mind, as my opinion could change over time...

I'm not that familiar with Byrd's work, my only previous exposure is 10 to 4 at the 5 Spot. I'm definitely impressed with his work, although it's Pepper Adams' baritone that stands out on this album for me. The contrast between Adams and Rouse is quite interesting. I'm not as familiar as I should be with Walter Davis, Jr., obviously, as some of his solos are intriguing. I'll have to look farther. Overall, this group seems to me to have more of a connection to bebop than most hard bop I've heard.

Here Am I and Clarion Calls stand out as true gems in my mind, particularly Here Am I. This is one of those tunes that I'm sure I'll be listening to for years, until I am thoroughly sick of it! Love it! Witchcraft doesn't cut it for me, but that's not the fault of the artists involved. I was brainwashed on this one at an early age, and as is the case with All or Nothing at All, if Frankie ain't singing, then I'm not on board.

The Injuns leaves me cold. While the solos are nice, the head leaves me with the same feeling I get as a Braves fan when I see the "tomahawk chop". Call it rampant PC if you wish, but it just sounds like a joke to me. I agree with Paul; they should have just done Cherokee.

All in all, a very enjoyable album, even if for me it was one song too long. The only question I have now is, why haven't I ordered the Mosaic yet???

[JSngry]

Can't comment on this CD since I don't have it, but re:Pepper - I agree that his vocabulary is familar and predictable (to a point), but, not unlike Joe Henderson. his rhythms and the way he displaces that vocabulary is not, at least not to me. It's the unpredictability of the phrasing that I dig more than the vocaulary itself. When he phrases straight, I can take it or leave it (love his tone, though, no matter what), but when he gets a bit "sly", I dig it much.

[Alexander Hawkins]

couw, that description of Pepper Adams taking a 'brawling' solo is brilliant.

The Mosaic liners use the word 'scorching', and I think perhaps 'slashing', but 'brawling' is the 'mot juste' for my money.

[John Tapscott]

I gave it a few spins from the Mosaic set, and I am not quite as enthusiastic as some of you. A decent set, but in my opinion several notches below excellent or indispensable.

Certainly Byrd plays very well throughout, and to me it really is a showcase for him, more than for the others. Adams and Rouse play well, but I think they are heard to better effect elsewhere. The ensemble parts are very nice.

Witchcraft and Here Am I are taken at that medium tempo which can almost drag or become monotonous in the wrong hands. That doesn't quite happen here, but to me, these tracks never quite catch fire, either. The rest of the tracks are better in this regard, and engage my interest more.

In terms of the sound, I find Sam Jones' bass sound to be a bit boomy and somewhat disconnected from Taylor's drums. The rhythm section plays well, but to me, the real tight lock-up and deeply swinging groove is not quite there. Also, the high-hat seems to be over-recorded and the ride cymbals a bit under-recorded. Perhaps this is different on the RVG.

There'a a lot to like about this session, and I generally prefer to be positive rather than negative, but since others have pointed out the strengths, I thought I'd mention the other side.

I agree with Chuck's rating - 3 and 1/2 stars

BTW, it's a bit of a listening shock to follow this up with the next session on the Mosaic set, Byrd's Creeper from 1967 and reflect on the changes that swept the jazz world in 8 short years. Though I'm a lover of bop, I generally find this later set to be more interesting.

[JSngry]

O.K., this might sound totally wack. It might BE totally wack, probably is.

BUT....

Has anybody besides me noticed the similarity in the interval used in "Witchcraft" where the title is sung (a 4th, if you're keeping score at home), and the opening phrase of Wayne's "E.S.P."?

The lyrics to "Witchcraft" could be loosely said to be about ESP, and Wayne is sorta notorious for his ultra-dry sense of humor, so is it TOO far fetched to consider the possibility that Wayne heard Sinatra's version of "Witchcraft" back in the day (could he have missed it?), was beguiled by that one intervallic ploy, carried it around inside for a while, used it as the basis for "E.S.P.", and used the title as a sly reference to his inspiration?

I'll admit to being a latecomer to Sinatra in general, and that song in particular. I first knowingly heard it about 5 years ago. But I'll be DAMNED if the first reaction I had when I heard that 4th was "WHOA!!! "E.S.P." just waiting to happen!!!"

Everybody I tell this to thinks it's a totally loony idea, but I'm not so sure....

Off topic, but only sorta, so what the hell...

[jazzbo]

You're not totally whack!

No, wait a minute: what am I saying! OF COURSE you're TOTALLY WHACK! But not I think because of the similarity!

[Jazzmoose]

Well, either I don't hear it, Jim, or I don't really know what you're talking about (entirely possible!), but thanks for the excuse to dig out the two CDs anyway!

[AfricaBrass]

Here's my review.

I've been playing this pretty consistently for the last few days. It's been great having a reason to really listen to an album over and over. I look forward to the future albums of the week.

If I was to give this cd a letter grade it would probably be a B or B+.

I hate to admit this, but I’ve been listening to this a lot and I’m finding that the baritone is getting on my nerves a little. Adams’ playing is fine, but as a lead instrument, it’s just a little caustic. It’s great in the ensemble passages.

Track by track:

1) Witchcraft – This gets the album off to a mellow start. This has never been a favorite song of mine, but I really like this once they get into the solos. Byrd’s playing is nice. This has a nice jam session feel, everybody gets a chance to add to the pot. I do like Walter Davis Jr’s solo. In Rouse’s solo, he tries to pick up the mood. It is nice to hear him away from Monk. This is a pretty low-key track.

2) Here Am I – I think this is my favorite track on the album. It’s a very simple melody, but I like the ensemble playing here. It’s a very “Blue Note” type of track. Byrd plays with a low intensity. Rouse picks things up with his solo. After Rouse’s solo, I enjoyed the ensemble bit before Adams solo. Pepper tries to pick it up in his solo. I enjoy his phrasing quite a bit. Very angular. Next, Davis plays a low key piano solo. Byrd finishes the song with the theme and a little solo. Nice track!

3) Devil Whip – Time to wake up. This song makes me feel like I’m in Times’ Square in one of those Cassavettes films. First solo is Byrd. He’s awake and playing well. Next is Pepper. He’s playing the heck out of that baritone. I like Davis’ piano solo. After the piano solo, Rouse enters with a searching solo. Rouse is my favorite player on this album. Nice ending by the ensemble.

4) Bronze Dance – I like the melody of this song. It starts of exotically in a sort of “Nature Boy” way. This track features quite a bit of ensemble playing. Byrd’s first solo sticks close to the melody. Many of solos on the cd so far have been that way. Both Rouse and Adams seem to be the ones trying to take the music to another level. Davis’ piano solo on this track is the most passionate yet. I hear some Monk in it.

5) Clarion Calls – As this begins, a sense of sameness is starting to creep in for me. The ensemble playing is the best part for me during Byrd’s first solo. Once again, Adams kicks into overdrive during his solo. Byrd comes in after Pepper. He’s more awake this time, nice. Rouse’s solo is interesting. It sounds like he’s having fun. You can really see how playing with Monk has made him a creative player. I like Davis’ piano solo. He seems to be opening up as the albums goes on. After the piano solo, Byrd states the theme for a while. I’m really listening to Rouse and Adams during this section. They’re what do it for me.

6) The Injuns – I’m kind of tired of this track. I don’t love the melody. It’s the most grating track for me. Byrd’s solo has him playing up and down runs before he opens up. It’s one of his more interesting ones. I’d say this is my favorite solo of his on this album. It sounds like he’s finally in gear with Adams and Rouse. Adams solo is similar to Byrds’ in that they both played a lot of notes. Davis’ solo sort of reminds me of Art Tatum. I can just see the fingers flying. After the piano, back to the ensemble. This track has my least favorite ensemble passages because I don’t really love the injuns melody. I do like Art Taylor’s war drums under the ensemble. Pretty creative.

After this listening, I think I’ll give the album a B. It’s a good record, but I just find it a little tiresome after repeated listenings. Rouse is my favorite on the album. I respect Adam’s playing here, but the baritone gets a little tiresome for me. Walter Davis Jr. does a nice job. Byrd to me, is very competent, but a little boring here. I’d say this is a medium flame album overall.

Just my opinion.

:rsmile: :rsmile:

Edited March 25, 2003 by AfricaBrass

[Jazzmoose]

It’s a good record, but I just find it a little tiresome after repeated listenings.

Well, I must admit I'm beginning to agree with you. The song Here Am I, which I adored, really doesn't hold up that well to repeated listenings. I still like the baritone a lot more than you do, but... I'll have to give it a rest for a bit (and start concentrating on "Wahne"!), but I think I'll give it another listen Friday and see what I think.

[AfricaBrass]

It’s a good record, but I just find it a little tiresome after repeated listenings.

Well, I must admit I'm beginning to agree with you. The song Here Am I, which I adored, really doesn't hold up that well to repeated listenings. I still like the baritone a lot more than you do, but... I'll have to give it a rest for a bit (and start concentrating on "Wahne"!), but I think I'll give it another listen Friday and see what I think.

I'll do the same thing. Maybe, I'll like it more.

I agree with you that Pepper is the glue of the session. I appreciate his phrasing on this album, and his ensemble work is great.

:rsmile:

[AfricaBrass]

Just a reminder :rsmile:

The pick for the week of March 30 - April 5 as chosen by Jazzmoose will be:

Wayne Shorter - The All Seeing Eye

So, if you don't have it and want to participate, here's your warning.

In the previous album of the week thread, Jazzmoose nominated Peter Johnson to pick the album of the week for the week of April 6 - 12. So if you're out there, Peter, start thinking of what album you want to review and who you want to nominate for the subsequent week.

:rsmile: :rsmile:

[Peter Johnson]

Right on! I'll have to give that some good thought.

The pressure!