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Byrd in Paris

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Page Artiste Donald Byrd


Détails sur le produit

  • CD (12 avril 2011)
  • Nombre de disques: 1
  • Label: Emarcy
  • ASIN : B0041T7FBI
  • Autres éditions : CD  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
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BYRD IN PARIS

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Par Philiplo TOP 500 COMMENTATEURS le 6 mars 2014
Format: CD
En 1958, le trompettiste Donald Byrd et son groupe tournent en Europe et séjournent à Paris, au "Chat qui pêche". Frank Tenot et Daniel Filippachi les invitent à participer à l'un des concerts, le 22 octobre, qu'ils organisent à l'Olympia et qui sont diffusés dans le cadre de leur célèbre émission "Pour ceux qui aiment le jazz". François Postif obtient les bandes de ce concert et il les édite chez Polydor, firme où il travaillait. Quand j'ai acquis ce CD vers 1991 ou 1992, j'ai tout de suite été conquis. En plus la photo me plaisait bien: Donald Byrd lecteur attentionné du Figaro du 5 novembre 1958 faisant le compte rendu du couronnement du pape Jean XXIII.
Je connaissais mal à l'époque les cinq musiciens mais leur style me plaisait bien : un côté Jazz Messengers. J'étais pas loin car Donald Byrd et le contrebassiste Doug Watkins étaient passés par ce groupe et le pianiste Walter Davis Jr. allait le rejoindre plus tard. J'ai surtout été séduit à l'écoute du disque par le saxophoniste et flutiste Bobby Jaspar. Il nous régale par exemple avec son "Flute blues". Bobby Jaspar est de passage à Paris qu'il a quitté en 1956 pour faire carrière aux Etats-Unis.
Cinquième homme du groupe, et non des moindres, Art Taylor tient la batterie.
Quarante cinq minutes d'un excellent concert. Chacun est bien mis en valeur tour à tour.
On peut écouter la suite du concert sur l'album
...Lire la suite ›
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Amazon.com: HASH(0x970f0f78) étoiles sur 5 3 commentaires
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x97110720) étoiles sur 5 Remembrance of a glorious stand 13 février 2013
Par Giuseppe C. - Publié sur Amazon.com
Format: CD
Donald Byrd's passing has just been confirmed. The son of a Detroit preacher, the legendary trumpeter was no more than 5-6 years older than me, a 16-year-old high-school student (and, like Donald, a PK) permitted by his parents to explore a jazz club for the first time. Paris presented little threat to a "foreign" visitor--other than the familiar Parisian "temptations" and those "wild and crazy" French drivers (I learned to be especially careful while owners of the "Deux Cheaveaux"--the sardine-can, bargain-basement, basic Citroens--were running the streets--though much later I came to question who was in greater danger: the pedestrian or the driver. It was only after I leased one of these "toy cars" (put out of its misery by Citroen in the early '90s) and took it on a drive from Paris to Limoges that I got over my love affair with it: upon meeting a truck on the 2-way highway, the wind draft created by the velocity of our two vehicles was sufficient to blow the canvas roof off the car! --literally!) But back to the night when I first heard and met Donald Byrd, who was blowing off the roof (figuratively) of the Left Bank Club known as "Au Chat qui Peche."

It was the discovery, years later, of this disc in a Paris record store came as a personal revelation, unleashing a flood of memories about Donald Byrd's artistry and his productive stand in Paris with this superb quintet. Their primary base was the Left Bank "cave" (resembling the club used in "Round Midnight," the film starring Dexter Gordon as an ex-pat jazz musician). And, occasionally, this talented and serious ensemble played "out," performing concerts like the one on the pictured album at Paris' renowned Olympia Theater. (Byrd's announcements between tunes on the pictured album carry lots of inside humor that will appeal to knowledgable followers of the music.)

Just two years prior to Byrd's Paris stay, he had already established his reputation as a non-showboating, tasteful, melodic soloist and empathetic ensemble member, arriving in NYC out of Detroit's productive Cass High--just months after the deaths of Charlie Parker and Clifford Brown. In fact, Byrd is a key factor on arguably the best recording by Art Blakey and Horace Silver, a "desert island" disc on Columbia: The Jazz Messengers. Byrd was greeted as a prodigy (and for good reason, as we can hear on the preceding album) in the tough competitive NYC scene, above all by musicians. (It was the public that either was fixated on the always bright stars of Miles or Dizzy or drawn to "flashier" and more dramatic young players like Clifford, Lee Morgan, and Freddie Hubbard. Despite his lower profile, Byrd was in the same league, capable of holding his own on any bandstand. When I saw him in the club, he was clearly the leader, "da Man" in charge, musically and personally (though it was Art Taylor's hard-slamming, endlessly ringing ride cymbal that was always the dominant sound). When, during intermission, Byrd went out into the street for a breath of fresh air (and momentary silence), I caught up with him--and, like other great musicians I've talked do, did not encourage me to become a musician, instead emphasizing the hardships, obstacles, and immense challenges to making a living, even as an ex-pat with a "starring" role in Paris. Back in the club, Byrd's playing demonstrated his mastery of the horn as well as the music and his particular ensemble. Nevertheless, there are moments during this "formal" concert at the Olympia Theater when Bobby Jaspar and Doug Watkins surpass him. Just a few striking points about the recording:

Listen to Watkins' powerful supportive walking bass lines but also to his extended two-chorus solos on the first two numbers (no-showy pyrotechnics but horn-like melodies). Then note the flautist and bassist coming together for the unison tricky melodic line of "Flute Blues." The imminent loss of Watkins (like Clifford's death, an auto accident) cannot be underestimated. He was not only related by blood to his cousin, bassist Paul Chambers, but by talent and musical sensibilities. By contrast, Walter Davis Jr.--who otherwise deserves the highest praise--plays with spirit on this occasion but frequently sounds "ragged" compared to the other members of the group.

The recording does little to clarify the minor controversy about who wrote the final tune, "Blues Walk." The album notes state explicitly that the composer is Clifford Brown; on the recording itself, Donald Byrd introduces the tune, and with equal authority, as "a composition by Sonny Stitt." (I personally vote for Sonny.)

The liner notes make much of the similarity between Bobby Jaspar and Sonny Rollins. To my ears, Jaspar is far closer to the more understated but supremely melodic, ceaselessly inventive Hank Mobley, who had served as the ideal frontline partner with Donald Byrd prior to this Paris sojourn (during which Donald would study with the widely admired, influential music theorist, Nadia Boulanger).

Among the four discs that I've thus far acquired of Byrd's 1958 stand in Paris, I would have to place ahead of this one Parisian Thoroughfare if only because A.T.'s drums are more forward in the mix, representing a closer approximation of the group as it sounded "in person."

Afterthought: the 2-part concert by Donald Byrd's quintet at the Olympia has surfaced in numerous formats with variable audio quality. "Byrd in Paris" is available with 2 programs--one from each half of the concert. (If you go this route, make sure the program listings don't duplicate each other.) It's also available in the "Jazz in Paris" series, including the aforementioned "Parisian Thoroughfare," which contains the same program as that on one of the "Byrd in Paris" discs. More recently, a complete edition of the full concert has been issued as a "two-fer," which includes tracks from the group's "informal" performances at Le Chat qui Peche, and is most likely your best bet: Complete Live At the Olympia 1958 (Bonus Track Version). If you have a chance to sample tracks from the various formats, listen especially for the presence of Art Taylor's ride cymbal (A recent release of Blakey's rarely heard '70s Messengers--Art Blakey & The Jazz Messengers - The Sesjun Radio Shows--is excellent in all respects except one--Blakey's hi hat is barely audible, often disappearing altogether.) The erasure of A.T.'s cymbal is almost equally injurious to the listener's enjoyment of Donald Byrd's quintet, during an illustrious stand in Paris just prior to the explosive developments jazz "back home" (1959 would see the release of the eternally popular "Kind of Blue" (with Miles and Bill Evans' introduction of modes) and "Time Out" (with Dave and Paul introducing 5/4 meter to jazz) as well as Getz' introduction of the bossa nova on the album "Jazz Samba" and Coltrane's radical transformation of jazz harmonies on his landmark album "Giant Steps." It was a great time to be alive (despite the recent departurres of Bird and Clifford)--whether you were busy checking out the the scenes in NYC, Chicago and L.A. or hanging out on the Left-Bank in Paris!
HASH(0x971139a8) étoiles sur 5 Four Stars 2 novembre 2014
Par GBad - Publié sur Amazon.com
Format: CD Achat vérifié
Nice example of Byrd playing straight ahead pieces as opposed to his work later.
HASH(0x9735a7ec) étoiles sur 5 No Problme 10 novembre 2014
Par Acquisitions, UNLV Libraries - Publié sur Amazon.com
Format: CD
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