FunkFreak75 Recorded on May 15, 1970, Van Gelder Studio, Englewood Cliffs, New Jersey, we see with this album Donald's deeper dive into a commitment to both electric instrumentation with the prominent featuring of electric bass (from experienced jazz bassist Ron Carter, a man that did not stick with it for very long despite his electric bass play being very highly in demand) heavily-effected electric guitar and new special effects used on several of the other instruments in order to add a new "psychedelic" pastiche to his music. Also, Donald is here effectively using melody lines that intentionally fall out of line with the foundational keys and scales they're generally used in, giving the music a strongly disorienting, even "drugged" feeling. The album was released by Blue Note in November.

A1. "Estavanico" (11:00) for this song's first seven minutes Rudy Van Gelder convinces Donald and his crew to pull out all the stops on reality-based music: bending, distorting, panning, pitch-shifting all kinds of tracks while Donald, for his part, convinces his musicians to slip in some "off" or "sour" notes from time to time as if to prove or at least amplify the "drugged out" state being expressed in the music. The musicians who seem to be having the most trouble "fitting in" to the new style are experienced bassist Ron Carter and saxophonist Frank Foster; the rest seem to fall easily into the act of being under hallucinagenic sedation--especially the awesome flutes and percussionists. A pretty cool, bold, and successful foray into the counter culture. (17.75/20)

A2. "Essence" (10:30) late night jazz with some electrified accoutrements: walking bass, electric piano, and electric guitar. The sound effects added to the recording of the flute and cool drumming style provide some of the more interesting elements to the song. As experienced as Ron Carter was at this time, you'd think he'd have done a better job of finding his place in the groove; as it is he just feels lost and out of his element. Jerry Dodgion's heavily-effected (echoed) sax is interesting as is the berimbau and echoed trumpet and other percussives. The muted electric guitar is totally weird and irritating--even when the echo effect is applied to it. Could this have been the one and only take of a poorly rehearsed composition? (17.25/20)

B1. "Xibaba" (13:35) to me this is the album's most interesting song because of the fact that there is so much space in it--space with which to take in every sound and echo, every jingle and jangle, every electric piano chord and At the same time there is this rather heroic presence of the self-proclaiming, screaming (and echoing) trumpet. It feels as if the conquering young Spanish-Roman hero has returned, alone, to his home town, with all the excitement of fresh victory bursting to be shared, but when he reaches the normally-peopled public places he finds them empty, the city desolate, his cries echoing off of the stone walls of the empty open places, hallways and streets and edifices. The structure formed at the end of the fifth minute merely suggests the hero's more resolute walk around the streets and alleys as he fixes to his determination to find people--find his family and friends--but all he finds are ghosts and reverberations of his own echoing voice. I find this song intriguing as it heartily feeds my own imagination's tendency to visualize and storyboard the music I hear. For me, this song is more about impressions than technical prowess or sophistication. (27/30)

B2. "The Dude" (8:00) a suped up song that sounds as if it came from the overdubbing of a Motown foundational track. The R&B is strong with this one, Obi-wan. Though the "Motown" rhythm section remains tight and the soloists dancing lightly over the top sensitive, respectful, and creative, the song really doesn't do enough over the long run to make it memorable. (13/15)

Total Time: 43:48

I have to say that I respect Donald Byrd, now almost age 40, for his adventurousness. I also love the fact that engineer and recording studio owner Rudy Van Gelder was able to remain so fascinated with and invested in the latest greatest technological advancements in sound recording and engineering. The two coupled with a cast and crew who were at least able to try--to go along with their leader and producer's weird and whimsical requests (orders)--despite their own training, predilections and reservations. Many people look back upon the experiments and fumbles into the world of "psychedelics" as a laughable mistake--many with regrets--but I like it: it is all so entertaining (and nostalgic).

B/four stars; an excellent second and further sortie into the world of electronic sound manipulation--one that definitely qualifies as a pulsating representative of the First Wave of Jazz-Rock Fusion.

FunkFreak75 Recorded at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey, on May 9th and June 6th of 1969, the music here was definitely experimental, definitely exploring the new sounds of electrified instrumentation and fusions of non-traditionally jazz music traditions (like blues, rock, soundtrack, and even African) with jazz. It was released by Blue Note Records in December of 1969.

A1. "Fancy Free" (11:50) a song that offers a lot of memories for Detroiters due to its daily use on WJZZ beneath its community calendar notifications, Ronald Wilson's double bass and Leo Morris' drums seem to anchor the music in the jazz traditions while John Richardson and Nat Battis' Latin percussion with Duke Pearson's use of the smooth tones of an electric piano propel it forward, into the new realms of Jazz-Rock Fusion. Donald's trumpet and Jerry Dodgian's flute add more to the overall smooth sedating effect. (22/25) A2. "I Love The Girl" (8:35) solo electric piano opens this, sounding like someone playing background music for a television show like Mr. Rodgers' Neighborhood. After 90 seconds Donald steps up to the microphone while bass, brushed drums, and subtle rhythm guitar add their nuanced support. This, too, sounds like background music for some film or a cover of a film theme song. The arrival of Frank Foster's tenor sax in the sixth minute somehow gives the music a little more credibility--as if the great Dexter Gordon had just stepped in, legitimizing this as Jazz. Duke's vibe-sounding effect on his electric piano is given the front in the eighth minute while soothing horns support from behind. (17.5/20)

B1. "The Uptowner" (9:05) jazz combo with electric piano integrated within provides the foundation for a bank of horns to enter and posit their melodies on this Mitch Farber composition. The bandleader himself takes over soon after, presenting a kind of HUGH MASALELA-type trumpet style and sound. As a matter of fact, the main motif coupled with the leads (Frank Foster in the fifth minute) give the song a very upbeat, party-like feel not unlike some of the happy-go-lucky songs and melodies made famous by Hugh and others in the Sixties. Jimmy Ponder gives a very flashy guitar solo in the seventh minute--one that sounds part CHUCK BERRY, part GEORGE BENSON. (17.5/20)

B2. "Weasil" (9:50) a Chuck Hendricks composition that is very solidly rooted in the RAY CHARLES-like blues-rock music of the previous decade. Joe Chambers' drumming is noticeably more rock-oriented but Duke Peterson's electric piano chord progressions and playing style are very close to Ray's blues. Nicely arranged and performed but not the kind of music that I like or enjoy. (17.5/20)

Total Time: 39:12

I can certainly see/hear the seeds of commitment to the new sounds and stylings of Jazz-Rock Fusion--which was, of course, still in its infancy

B-/3.5 stars; a finely-crafted and very well-performed (and recorded) sample of one of Mr. Byrd's evolutionary shifts. It's not quite ground-breaking J-R Fusion yet but it's trying.

FunkFreak75 Recorded, once again, at Hollywood's Sound Factory under the production team of Larry and Fonce Mizell (Sky High) in November and December of 1974. Stepping into Tomorrow was released to the public in March of 1975.

A1. "Stepping Into Tomorrow" (5:11) such simplicity! Please, say it ain't so! Luckily, it's a great, very catchy groove, otherwise there's more similarity to the music of later HERB ALPERT (1981's Rise) and the Blackbyrds (due to the choral vocals)--which is fine if you're heading toward radio-friendly pop-oriented "Smooth Jazz." I like the keyboard experimentations being done by Larry Mizell and Jerry Peters--and the vocals are actually quite a bit better (recorded/engineered) than those on the Blackbyrds' albums. Whoever is doing those ultra-soprano vocalese above the rest has got some pipes! (Lorraine Kenner? Stephanie Spruill?) (8.875/10)

A2. "We're Together" (4:19) opening with an excellent and enticing "conversation" between Donald and Gary with piano, background female vocals, and background horns offering nice accents. I also like the scraping noise of the pick hitting the strings on the rhythm guitar. Unfortunately, the choir vocals end up occupying too much space: taking away from the instrumentalists. (8.875/10)

B1. "Think Twice" (6:10) more vocal smoothation, this time with Team Male alternating with Team Female over some very simple jazz-funk (though with another great bass line and some nice vocal melodies). Jerry Peter's bouncy piano and Gary Bartz's smooth sax are nice complements to both the vocals and Donald's trumpet. (8.75/10)

B2. "Rock And Roll Again" (6:09) smooth, smooth instrumental Soul music. Harkens back to the early 1960s in its simplicity. And there's that whistler dude James Carter who'll be so dominant on Side Two of the next album (Places and Spaces). Otherwise, this is really just a classic soul/DooWap tune on which the alto sax takes the place of the human voice. Donald must be feeling really nostalgic. (8.66667/10)

C2. "I Love The Girl" (3:53) piano and gentle percussion instruments open this before the band engages in some cinematic Burt Bacharach-like music behind James Carter's whistling. When Donald kicks in with his flugelhorn in the second minute it is over some loose funk in which laid back yet playful bass and steady drums amuse beneath Jerry's wildly-adventurous piano play. It's kind of shame that his piano is mixed so far back into the mix cuz it's really entertaining and interesting. (8.75/10)

C3. "You Are The World" (4:29) bongos, timbales, and two fast-strummed rhythm guitar chords repeated over and over precede the "you are the world" male choir pronouncements. Then the music travels into a funkier BARRY WHITE world with piano and wildly flailing wah-wah chord fast-strumming rhythm guitar. This is definitely early Disco. I don't dislike it; it feels so ready for radio! (Especially in Detroit town!) (9/10)

D2. "Design A Nation" (4:21) very pleasant Smooth Jazz with very relaxing vocal choir work, whispered female voice, smooth sax from Gary Bartz, and a great bass-led groove at its foundation. (9/10)

D3. "Makin' It" (3:49) a song with a little more zip and jazz in it despite the funk/R&B presentation. Jew's harp, piano, clavinet, and percussion are key components beneath Donald and Gary's horns. I like the lively spirit of those contribution to the foundation. (9/10)

The master of borrowing riffs and sounds from past masters has been caught: it's no longer working its magic as it once had. Is just my ears or has Chuck Rainey's bass playing (and volume) been curbed or downscaled from the levels and freedoms expressed on the previous album? I think this an unfortunate mistake on the part of both the composer, bandleader, and producers.

Total time: 39:21

B/four stars; an excellent album of simplified Jazz-Rock Fusion that finds portents of Disco, Jazz-Funk, and Smooth Jazz in its weaves.

FunkFreak75 Donald's first album giving the reigns of both production and composition to NASA aerospace engineer Larry Mizell. (Larry has writing credit on all seven of the album's songs. Donald has none.) Larry and his 11-month-younger brother, Fonce, were both D.C. born graduates of Howard University: Larry in engineering, Fonce in music. The brothers had only moved out to California early in 1972, with the aim of starting their own record production company (Sky High Productions). Black Byrd was recorded on April 3rd and 4th at The Sound Factory in Hollywood, California though one other date was required (Nov. 24) before the album could be mastered (perhaps for the re-recording or overdubs to he album's title song: to give it that "Papa Was a Rolling Stone" sound and feel). It was released by the Blue Note label in February of 1973.

A1. "Flight Time" (8:30) a remnant from the previous album's recording sessions?--or perhaps something generated by the momentum established by those sessions. The music is more sedate, engineered more for the exposition of singular musicians, one at a time, at the front, with the rest of the band serving more in support roles, not garnering much attention. Even the solos from the lead instruments (trumpet and flute) are more linear and focused, less conversant, than the music on the rest of the album (and on successive albums)--until, that is, the fifth minute when everybody seems to have been given the green light to go, explore, show off (at least for a minute). It's nice but it also helps me to be appreciative of the busy and nuanced weaves of the band's future songs. The busy free for all has some of the same joi de vivre of Hugh Masakela's "Grazin' in the Grass." (17.5/20)

A2. "Black Byrd" (8:00) ominous funk from bass and synth with percussion and Fender Rhodes accents open this one before flutes and wah-wah-ed "Shaft"-like rhythm guitar joins in. Small male choir joins in near the beginning of the second minute talking about "walking along playing our song" while a muted horn and horn-like rhythm guitar squawk and converse between and behind the vocal passages. Truly revolutionary (as far as my experience goes--though there are reminisces here of the instrumental music rendered by The Temptations for their version of "Papa Was a Rolling Stone"--which was released in September! (13.75/15)

A3. "Love's So Far Away" (6:00) high quality, smooth-yet-rollicking and grooving funk-jazz with an awesome bass line (and style) that will be emulated by Les Nemes on one of my all-time favorite albums, HAIRCUT 100's Pelican West. (9.125/10)

B1. "Mr. Thomas" (5:15) nice full, complex, but not-too-busy, example of melodic jazz-funk. (8.875/10)

B2. "Sky High" (5:59) a song titled after Larry & Fonce's new music production company! Smooth melody lines over straightforward jazz-pop with some pretty adventurous bass walking from Chuck Rainey. This is definitely upbeat and happy music--and everybody contributing seems on board with this. Male choir enters in the second half with its background delivery of the usual hokey lyrics. Besides Chuck's awesome bass play, there are great performances here from all of the trumpeters and flutists as well as the rhythm guitarist, drummer, and keyboard players. (8.875/10)

B3. "Slop Jar Blues" (6:00) a nice, easy-going, Cosby Kids-like groove over which the winds and lead trumpeter and flutist have a great dialogue. I wonder if the solo voce "Slop Jar" lead vocalist is Donald, Fonce, or Freddie Perren. Another great engineered and mixed weave of instruments with Chuck Rainey's bass, the lead flute and trumpet, and the percussionists getting especially prominent treatment. (8.75/10)

B4. "Where Are We Going?" (4:40) the two-chord piano opening that proves to be the foundation for the rest of the song inspires (and supports) another great bass performance from Chuck Rainey while flutes, trumpets, and pianos play around within the mix. At 1:37 another singular male vocal performance starts that makes me wonder who it is. Motown-style b vox soon follow. Curiously, that's when Donald's trumpet really starts to fly around: in and between the vocals and recitations of the main melody from the flutes. There is a Classics IV/Atlanta Rhythm Section "Stormy" feel to the chords and melodies of the foundational progression. All in all it's a nice Smooth jazzed-up Soul/R&B song, despite its obvious references to other Motown classics (including Marvin Gaye's What's Going On?) (9.125/10)

Total Time: 43:17

By far the most melodic and pop-oriented music and album that Donald Byrd had released up to this time, I find it odd that an album so overwhelmingly dominated by one man and his production company's hired guns gets credited to the non-composing band leader instead of the principal generator of the finished product but such was the way of the music industry back in 1972/3. The shifts in both style and sound quality from Donald's previous release are so pronounced that one almost wants to ask if this is perhaps a different artist altogether--especially with respect to the list of musicians contributing to this album as compared to those on Ethiopian Knights: Wilton Felder, Joe Sample, and David T. Walker are present on Black Byrd, but, to what capacity as there are a whole host of other musicians present here filling in the same roles that the Jazz Crusaders were filling?

B+/4.5 stars; a near-masterpiece of wonderfully-rendered blend of Smooth Jazz and Funk-Jazz.

FunkFreak75 I love it when a well-established, experienced and respected musician continues to grow and be open to new trends and ideas. Here Donald Byrd makes his second foray into the new world of electric and rock-infused Jazz Fusion, presenting some pretty great early examples of funk-drenched J-R Fuse.

A1. "The Emperor" (15:40) Funk! listen to that inventive Fender Rhodes play, that groovin' uptempo electric bass, that sexy, adventurous trumpet, the fun the blues-guitarists are having playing creative rhythm guitar, the wonderful unity of the total rhythm section. (28/30)

A2. "Jamie" (4:00) a little organ and acoustic guitar Latin thing that is closer to blues or Latin pop than fusion and or funk; it feels like a cover of a pop song (one that I do not know but which sounds very familiar). The prominence of the guitars makes me appreciate their talents more. (8.75/10)

B1. "The Little Rasti" (17:44) after a long 80-second drum intro, the funk is back, maybe even heavier and stinkier--definitely more hypnotic--than on the opener! Nice long solos given to a wah-wah guitarist, saxophonist Harold Land, and organist Joe Sample before Donald gets his turn (in the 11th minute). After. the fourteenth minute electric piano and trombone are given some shine, kind of together, before the other?) electric guitarist is given a turn and then Donald finishes things off with a now-heavily-echoed trumpet. If there's a flaw to the song it's that the main groove, as great as it is, goes on unbroken and with very little variation or enhancement for 15 minutes, a bit too long even with interesting solos going on over the top. (It is under conditions such as these that I think of the genius expressed by albums by Herbie Hancock, Eddie Henderson, and Julian Priester over the next couple of years where the musicians are each allowed to be inventive, even improvisational, all at virtually the same time instead of waiting for their assigned turn, which was the more standard jazz tradition.) (31.25/35)

Total Time: 37:09

A-/five stars; a minor masterpiece of early, experimental jazz-rock fusion.