Donal Byrd Doug Watkins

Donald Byrd - Fuego (1959) {Blue Note ‎724356380226, RVG Edition rel 2005}
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© 1959, 2005 Blue Note / Capitol | 7243 5 63802 2 6
Jazz / Hard Bop / Trumpet

Fuego – a title that might be somewhat misleading – is the final Blue Note recording exclusively pairing Donald Byrd with Jackie McLean, a fruitful partnership that set the yin of the (in this case) restrained trumpeter, against the yang of the tart and extroverted alto saxophonist. While not quite a unified whole, the two were involved in turf battles that were based on mutual respect, here exuding a quieter fire that toned down McLean and muted Byrd to attain an intriguing harmonic balance. Duke Pearson's clever piano in the middle, with Doug Watkins playing bass and favored drummer Lex Humphries, made for one of the more diverse sounds in modern jazz circa 1959-1960.

Art Farmer & Donald Byrd - 2 Trumpets (1956) {Prestige OJCCD-018-2 rel 1992}
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© 1956, 1992 Prestige Records / Fantasy | OJCCD-018-2
Jazz / Bop / Trumpet

Art and Donald are in fine form, and if there is any competition it serves only to increase the musical yield. Jackie Mclean adds just the right note of astringency and variety of tone. Barrie Harris provides solid foundations for the improvisations while Doug Watkins and Art Taylor maintain impeccable pace. An excellent bop session and two trumpets is just the right number when its Farmer and Byrd.

Donald Byrd & Pepper Adams - The Complete Blue Note Studio Sessions (2000) {4CD Box Set Mosaic MD4-194 rec 1959-1967}
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© 1959-67, 2000 Mosaic Records / Blue Note / EMI-Capitol | MD4-194
Jazz / Hard Bop / Trumpet / Saxophone

Centered around the Byrd/Adams Blue Note dates Byrd in Hand, Chant, Royal Flush, The Cat Walk, and Off to the Races, Mosaic's Complete Blue Note Donald Byrd/Pepper Adams Studio Sessions finds the Detroit natives at the top of their game during 1959-1962. Writing and performing some of the most original and tight hard bop around, Byrd and Adams led a variety of combos that featured the likes of Herbie Hancock (his first session), Wynton Kelly, Duke Pearson (who also contributed material), Charlie Rouse, Sam Jones, and Billy Higgins. From distinct covers ("Lover Come Back to Me") to seamlessly complex originals ("Bronze Dance"), Byrd's pure-toned trumpet and Adams' angular baritone unexpectedly make a perfect match. And beyond a wealth of sides that prove the point, the collection also features – in typically thorough and classy Mosaic fashion – some stunning session photos by Blue Note lensman Francis Wolff and an extensive essay by Bob Blumenthal. A hard bop experience of the highest order.

One of the great jam session recordings of the 1950s, All Night Long was under the relaxed direction of Kenny Burrell. The guitarist gathered together some of the finest young players on the New York scene, including Donald Byrd on trumpet and tenor saxophonists Hank Mobley and Jerome Richardson, one of the unsung heroes of the flute in jazz. Mal Waldron, Doug Watkins and Arthur Taylor were the rhythm section. The musical formats were uncomplicated; "All Night Long" a blues with a bridge, Waldron's "Flickers" a 16-bar pattern, Mobley's two originals based on familiar 32-bar chord sequences. From these simple, classic bases were launched performances with the hallmarks that have long identified any Burrell project: Relaxation, swing and high standards of musicianship.

In 1958 this quintet enjoyed an extended, 6-month stay at a left-bank club, Le Chat Qui Peche, during which time the concert recorded on this album took place (but not in the club). It's pleasant neo-bop but nothing exceptional, and it certainly doesn't acquire the fire and force of the live performances by the group, which was largely driven by Art Taylor's thunderous, explosive beat. ~ Amazon

The second of two CDs that document a Paris concert by trumpeter Donald Byrd also features Bobby Jaspar on tenor and flute, pianist Walter Davis, Jr., bassist Doug Watkins and drummer Art Taylor. Other than Byrd's "At This Time" and Davis' "Formidable," the quintet sticks to bop standards, many of which are quite concise and clock in around three minutes. Longer versions of "Parisian Thoroughfare" (a highpoint) and "52nd Street Theme" are exceptions. This spirited bop-oriented music is the equal of the first volume. ~ AllMusic