Jazz Archives

Kofi was extracted from some of last Blue Note sessions of the 1960s before Byrd's ventures into soul fusion territory. The playing here is no less than stellar, with seasoned veterans such as Ron Carter and Airto Moreira giving Byrd more than ample support to stretch out and soulfully foreshadow elements of future recordings. Lew Tabackin easily shares the spotlight with his beautiful flute passages on the title track, while Frank Foster and the rest of the supporting group complement Byrd's playing with a grace that emulates the early chemistry between the early Miles Davis groups of the early '60s. The subtle relaxed tones of this album make it truly one of the essential releases in Byrd's catalog, not only from a historical standpoint (his future collaborations with the Mizell brothers would take him to an entirely different plane of thought), but from a casual listening standpoint as well.

:::Review by Rob Theakston:::

Donald Byrd - Kofi (1969)

1. Kofi 9:30
2. Fufu 9:45
3. Perpetual Love 8:00
4. Elmina 8:30
5. The Loud Minority 10:00

Credits
Bass – Ron Carter
Drums – Mickey Roker
Drums, Percussion – Airto

Electric Bass – Bob Cranshaw
Electric Piano – Duke Pearson
Flute, Saxophone [Tenor] – Lew Tabackin
Guitar – Wally Richardson
Percussion – Dom Um Romao
Saxophone [Tenor] – Frank Foster
Trombone – Bill Campbell
Trumpet – Donald Byrd

Donald Byrd's transitional sessions from 1969-1971 are actually some of the trumpeter's most intriguing work, balancing accessible, funky, Davis-style fusion with legitimate jazz improvisation. Electric Byrd, from 1970, is the best of the bunch, as Byrd absorbs the innovations of Bitches Brew and comes up with one of his most consistent fusion sets of any flavor. Byrd leads his largest fusion group yet (ten to 11 pieces), featuring many of his cohorts of the time (including Jerry Dodgion, Lew Tabackin, and Frank Foster on various woodwinds). Most important are electric pianist Duke Pearson, who once again dominates the arrangements, and percussionist Airto Moreira, who in places lends a strong Brazilian feel that predates Return to Forever. Moreira also contributes one of the four compositions, "Xibaba," which starts out as an airy Brazilian tune but morphs into a free-form effects extravaganza; the rest are Byrd originals that prove equally imaginative and diverse. The Brazilian-tinged opener "Estavanico" has a gentle, drifting quality that's often disrupted by jarring dissonances. There's also the shifting -- and sometimes even disappearing -- slow groove of "Essence," and the hard-edged, bop-based funk of "The Dude." Much of the album has a spacy, floating feel indebted to the psychedelic fusion of Bitches Brew; it's full of open-ended solo improvisations, loads of amplification effects, and striking sonic textures. The arrangements are continually surprising, and the band never works the same groove too long, switching or completely dropping the underlying rhythms. So even if it wears its influences on its sleeve, Electric Byrd is indisputably challenging, high-quality fusion. It's also the end of the line for jazz purists as far as Donald Byrd is concerned, which is perhaps part of the reason the album has yet to receive its proper due.

:::Review by Steve Huey:::

Donald Byrd - Electric Byrd (1970)

1. Estavanico 11:00
2. Essence 10:30
3. Xibaba 13:35
4. The Dude 8:00

Credits
Bass - Ron Carter
Drums - Mickey Roker
Electric Piano - Duke Pearson
Flute - Hermeto Pascoal (tracks: 1)
Guitar - Wally Richardson
Percussion - Airto Moreira
Saxophone [Alto, Soprano], Flute - Jerry Dodgion
Saxophone [Baritone], Clarinet - Pepper Adams
Saxophone [Tenor], Clarinet [Alto] - Frank Foster
Saxophone [Tenor], Flute - Lew Tabackin
Trombone - Bill Campbell
Trumpet - Donald Byrd

Hi Everyone!

Some of you might find it very useful an interesting as I recently have updated the following links:

John McLaughlin – Extrapolation (1969)

Peter Brötzmann - Machine Gun (1968)

Guthrie Govan - Erotic Cakes (2006)

V.S.O.P. - The Quintet (1977)

Donald Byrd - A New Perspective (1963)

Keith Jarrett – My Song (1977)

Randy Weston – Tanjah (1973)

Andrew Hill – Judgement (1964)

Miles Davis - In a Silent Way (1969)

Chick Corea – My Spanish Heart (1976)

Duke Ellington - Money Jungle (1962)

John Coltrane - Giant Steps – Deluxe Edition (1959)

 

Enjoy!

This unusual set (reissued on CD by Blue Note) was one of the most successful uses of a gospel choir in a jazz context. Trumpeter Donald Byrd and a septet that also includes tenor saxophonist Hank Mobley, guitarist Kenny Burrell, and pianist Herbie Hancock are joined by an eight-voice choir directed by Coleridge Perkinson. The arrangements by Duke Pearson are masterful and one song, "Cristo Redentor," became a bit of a hit. This is a memorable effort that is innovative in its own way, a milestone in Donald Byrd's career.

 

1. Elijah 9:21

2. Beast Of Burden 10:07

3. Cristo Redentor 5:43

4. The Black Disciple 8:12

5. Chant 7:31

Arranged By - Duke Pearson

Bass - Butch Warren

Drums - Lex Humphries

Guitar - Kenny Burrell

Other [Voices Directed By] - Coleridge Perkinson

Photography - Reid Miles

Piano - Herbie Hancock

Recorded By - Rudy Van Gelder

Saxophone [Tenor] - Hank Mobley

Trumpet - Donald Byrd

Vibraphone - Donald Best

Cat no. printed on the cover as BLP-4124/84124, on the spine as 81424, on the label as BST-84124 and in the run-out groove as BNST-84124-A-1/B-2. This is a United Artists pressing with no reissue date listed on the cover or label.