Requisites
Donald Byrd at The Half Note Café, Volume 2 | By Eddie Carter
I enjoyed listening to the first set of Donald Byrd at The Half Note Café so much that I decided to hear the second set as well, which inspired this morning’s discussion. So, as the quintet makes their way back to the stage, let’s all sit back in our seats to enjoy Donald Byrd at The Half Note Café, Volume 2 (Blue Note BLP 4061/BST 84061). Donald Byrd is on trumpet, Pepper Adams is on baritone sax, Duke Pearson is on piano, Laymon Jackson is on bass, and Lex Humphries is on the drums. My copy is the King Record Company Japanese Stereo reissue (Blue Note BST 84061 – GYK-8105).
The rhythm section lays the foundation to begin Jeannine by Duke Pearson with their introduction ahead of the front line’s opening chorus. Donald lights the first solo like a shining beacon. Pepper succeeds him with a briskly exciting performance; then Duke keeps your foot tapping with swinging precision ahead of the ensemble’s closing chorus and trio ending softly. The leader then introduces the group’s theme, Pure D. Funk, before leading the trio through the bluesy theme. Pepper is up first with a relaxing interpretation. Duke has a very fine spot next, and then Donald is as smooth as Tennessee Whiskey preceding the group’s reprise and climax.
Side Two starts with Lex’s percussive introduction to the quintet’s medium melody of Donald’s second tune, Kimyas. Pepper swings easily in an impressive opening statement. Donald follows with another equally blissful gem. Duke completes the solos at a leisurely pace anchored by Laymon and Lex until the quintet’s ending theme. When Sonny Gets Blue by Marvin Fisher and Jack Segal opens with the front line delivering a very pretty opening chorus. Duke gets the song’s only solo and delivers a wonderful expression of incredible beauty and solace, leading to the quintet’s theme restatement. Donald ends the evening by thanking the crowd for being a receptive audience.
Alfred Lion produced this live date, and Rudy Van Gelder was the recording engineer. The sound quality possesses a top-notch soundstage that truly makes you feel like you’re right there in the Half Note Café audience. King Record Company has beautifully remastered the original mono tapes, enhancing the experience. If you’re new to the music of Donald Byrd or only know of his later ’70s jazz-funk releases, I invite you to check out Donald Byrd at The Half Note Café, Volume 2, on your next record hunt. Like its companion, Volume 1, the musicians are wonderful. The music has stood the test of time and both albums are excellent documents of a live jazz performance the listener can revisit anytime!
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Floyd Maurice “Stumpy” Brady was born on August 4, 1910 in Brownsville, Pennsylvania. At the end of the 1920s he performed and recorded with Zack Whyte’s Chocolate Beau Brummels before touring with Al Sears. During the next decade he played with Andy Kirk in New York, recorded with Blanche Calloway, and returned briefly to Whyte’s band in 1933.
He replaced Ed Cuffee in McKinney’s Cotton Pickers, and then performed and recorded with Claude Hopkins from 1936 to 1938 and Teddy Wilson from 1939 to 1940. As a member of the Lucky Millinder orchestra, Stumpy played a solo while accompanying Sister Rosetta Tharpe in the soundie Lonesome Road in 1941.
Other musicians and bandleaders he worked with include Al Sears, Count Basie, Joe Guy touring with Billie Holiday in 1945, Jay McShann, Fletcher Henderson, Roy Eldridge, and Cat Anderson. After a period of inactivity in the 1950s, Brady resumed playing in the 1960s with Slide Hampton’s band, Luckey Roberts’s orchestra, and Edgar Battle’s big band.
Trombonist Stumpy Brady died on February 11, 1998.
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Lawrence Brown was born on August 3, 1907 on August 3, 1907 in Lawrence, Kansas. When he was about six or seven years old his family moved to Oakland, California. He began playing the violin at a young age, but quickly grew tired of it and turned to playing the tuba in his school’s band.
Coming from a musical background, his mother played the organ and the piano and he often sang as a part of his father’s sermons when he preached at the A. M. E. Church. Brown discovered the trombone while doing janitorial work at his father’s church and wanted to replicate the sound of cello on a trombone.
Beginning his career with Charlie Echols and Paul Howard, in 1932 he joined Duke Ellington’s band. He was featured with the band every year on compositions such as Blue Cellophane and Golden Cress. Leaving Ellington’s band in 1951, Lawrence joined Johnny Hodge’s band, where he stayed for four years. After this stint he took a five year position as a session player with CBS.
He rejoined Ellington in 1960 and stayed with him until 1970. After leaving Ellington’s band the second time at the age of 63, Brown stopped performing.
Trombonist Lawrence Brown, whose fast technical style inspired trombonists from Tommy Dorsey to Bill Harris, died on September 5, 1988 in Los Angeles, California, at the age of 81.
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Martin Pickett was born on August 2, 1969 in Bristol, United Kingdom. His love of music took shape in his early teens, writing songs and playing guitar. He studied classical guitar through to Bristol University, while having piano as a second instrument and exploring compositional approaches.
After graduating Pickett received a Postgraduate Certificate in Education (PGCE) in secondary music education, then moved to Oxford, UK to teach music in a secondary school. It was during this period that his interest in jazz piano dominated his musical activities.
In 1998 Martin left his teaching post to work as a freelance jazz pianist and teacher. Since this time he has worked in a variety of settings and worked with a wide array of Britain’s most talented musicians.
He has recorded his own compact disc, I’ll Be With You Again in 2005 and played on albums by Diane Nalini, Tim Wilson, 3BPM, and Frank Hockney. He was featured as a composer on all of these apart from Frank’s project.
Pianist Martin Pickett has been a teacher in Oxford since 1998 and continues to focus his attention to being a freelance jazz pianist, performing with the group 3BPM, and songwriting collaboration with Tony Isaacs..
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Ian Davis was born on August 1, 1953 in South Carolina and started drumming at fifteen as an R&B drummer with The Barons, playing gigs on the South Carolina chittlin’ circuit with Earl Davis, George McCauley, Craig Washington, Phil Griffin, and Cool John Ferguson. He played folk and fusion in the Seventies, alt-pop, improvisational, and big band music in the 80’s, and played with Blue Chair, Mind Sirens, Bicentennial Quarters, Trailer Bride, and Chris Stamey/Kirk Ross in the 90’s. He went on to become the host drummer for six years at the Carrboro Arts Center monthly jazz jam.
Moving to the Bay area of San Francisco, California in 1995 Davis played with the Mills College based large improvising ensemble Micro Collective Orchestra along with Scott Rosenberg, Matt Ingalls, Morgan Guberman, Brian Pearson, Brian Kane, and many others. Following his 1997 return to North Carolina he organized the structured improvisational orchestra Micro-East Collective, similar in design to Micro.
He and composer, performer, producer and engineer Chris Stamey have recorded and produced three compact discs for Micro-East. Ian also manages Umbrella Records. He currently plays in improvisational duos with guitarist Jason Bivins, soprano and tenor saxophonist Mahlon Hoard, Onomata, a pulse-based improvising quartet, Unstable Ensemble, a Bloomington based improvisation ensemble, and The Dave Fox Quartet out of Greensboro, North Carolina.
Davis has been invited to play gigs with Eugene Chadbourne, he toured with Andrew Voigt, Morgan Guberman, and Toshi Makihara as part of the music and dance group Corpus Ludens. Drummer Ian Davis continues to record improvisational performers during house concerts sponsored by the Triangle’s Alliance for Improvised Music.
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