A Donald Brown

The title pretty much says it all. These 10 new compositions and well-chosen covers play like a scrapbook of pianist/composer Brown’s favorite sounds. There’s the daredevil, highly technical ensemble swinging that sometimes seems like the signature of his alma mater, Berklee School of Music. There’s the propulsive bounce of the Fender Rhodes electric piano that will always feel like a trapdoor to the 1970s, that decade when Herbie Hancock, Joe Zawinul, Chick Corea and a few others nailed it and made it a permanent part of the jazz soundscape.

After sharing Grammy nominations in three categories earlier this year (two for production on Kenny Garrett’s album “Seeds From the Underground” and one co-writing of a song on Denise Donatelli’s album “Soul Shadows”), returning to playing piano after a year-long hiatus due for medical reasons, and releasing his new album “Born to Be Blue,” Brown may be on the verge of getting the recognition that in-the-know jazz lovers have known he deserves.

One of many fine alumni of Art Blakey's Jazz Messengers to develop into leading bands of his own, Donald Brown has also been very successful as a composer, arranger, and pianist. Since the end of his association with the now defunct Muse, Brown has recorded a series of exciting sessions for the French-owned Space Time, including these 1995 outings. The exciting opener, "Shadow Chasers," is an uptempo romp mixing hard bop, post-bop, and a Latin tinge as well, with terrific solos by trumpeter Bill Mobley, alto saxophonist Manny Boyd, soprano saxophonist Sam Newsome, and the leader. The delicate "Granny's Bathwater" is introduced by Brown with a thoughtful solo that is full of love; Manny Boyd soon joins him with his warm, lyrical flute, with the piece taking on a brisk waltz setting as the full band is added. Brown's "Song for My Mother" showcases Newsome again on soprano in this richly voiced ballad.

A fine pianist and educator, Donald Brown has also been a prolific composer. He grew up in Memphis and actually started out on drums and trumpet. By the time he attended Memphis State University (1972-1975), he was playing jazz piano. After years of local work, Brown replaced James Williams with the Jazz Messengers (1981-1982). He went on to teach at Berklee (1983-1985) and the University of Tennessee (starting in 1988), recorded albums as a leader for Sunnyside and Muse, and had his compositions performed and recorded by a wide variety of top modern jazz players.

Byrd's third and last album for Orrin Keepnews' Landmark label – Part Three of his mainstream comeback – is another mostly straightahead affair with a sextet, sounding a few high-minded themes and taking a few unusual twists. Twice, Art Blakey is memorialized with drummer Carl Allen's sturdy application of the Blakey shuffle ("King Arthur," "Byrd Song"), but his drumming also salutes the M-Base brigade on the concluding "Not Necessarily the Blues." "A City Called Heaven," the spiritual-turned-title track with an nearly operatic vocal by mezzo-soprano Lorice Stevens, gets a moving extended modal treatment where Byrd has some rapid flurries that usually, but not always, hit their mark.

Trumpeter Donald Byrd's second jazz album during his comeback after years of playing R&B/funk and then totally neglecting his horn finds him starting to regain his former form. The strong supporting cast (altoist Kenny Garrett, tenor saxophonist Joe Henderson, pianist Donald Brown, bassist Peter Washington and drummer Al Foster) sometimes overshadows the leader on this CD but the music overall (modern hard bop) is rewarding. The sextet performs originals by Byrd, Henderson, Donald Brown, Bobby Hutcherson, James Williams and Duke Ellington ("I Got It Bad").