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The Blue Note label in the late 1950s and early 1960s was the proving ground for a generation of talented young trumpeters who surged into view in the aftermath of Clifford Brown’s untimely death. These new players had chops for Africa (often literally and spiritually), were alumni of Art Blakey’s Jazz Messengers and were deeply imbued with the gospel and blues that would inform hard bop in the first half of the 1960s. Among this cohort of young lions were Lee Morgan, Freddie Hubbard, Dizzy Reece and Donald Byrd.

I’ve chosen just one Donald Byrd track to share today, because it stands out for its power and sheer funk. Frank Foster’s The Loud Minority was recorded on December 4th, 1970 in New York. These sessions, along with some December 1969 recordings, lay dormant in Blue Note’s vaults for 25 years until they were finally released in 1995 under the title Kofi, an album that provides a superb insight into Donald Byrd’s explorations in West African and Brazilian musics and funk. I highly recommend the entire album for those interested in groove and early fusion.

What I particularly love about this track is its balls-to-the-wall horn statement and the great rhythm section that underpins it. Drummer Mickey Roker rides the line between boogaloo and a loose, open-sticked clave on snare. Ron Carter (b) keeps things loose-knit. The other percussionists are some guys called, oh, Airto and Dom um Ramao. Frank Foster’s tenor sax is flippin’ tesifyin’, brother. Donald Byrd hits those high notes and makes it sound like he means something (go back to school, Maynard). And Duke Pearson (rhodes) and Wally Richardson (gt) round out a great sounding band. Gotta love it.

Donald Byrd – The Loud Minority
From Kofi: Blue Note 31875 [Buy]