Ouverture de l’iTunes Store en cours…Si iTunes ne s’ouvre pas, cliquez sur l’icône de l’application iTunes dans votre Dock Mac ou sur votre bureau Windows.Progress Indicator
Ouverture de l’iBooks Store.Si iBooks ne s’ouvre pas, cliquez sur l’app iBooks dans votre Dock.Progress Indicator

iTunes is the world's easiest way to organize and add to your digital media collection.

iTunes est introuvable sur votre ordinateur. Pour écouter des extraits et acheter des morceaux de « Landmarks » par Donald Byrd, téléchargez iTunes.

Vous avez déjà iTunes ? Cliquez sur « J’ai déjà iTunes » pour l’ouvrir dès maintenant.

I Have iTunes Téléchargement gratuit
iTunes pour Mac et PC


Donald Byrd

Ouvrez iTunes pour écouter des extraits, acheter et télécharger de la musique.

Avis sur l’album

Not only was 1987's Harlem Blues Donald Byrd's first album in over 15 years, it also marked the first time he had recorded acoustic straight-ahead jazz since the '60s. Released in 1998, this CD looks back on the sessions that Orrin Keepnews produced for Byrd after his comeback and draws on three albums: Harlem Blues, Getting Down to Business (1989), and A City Called Heaven (1991). The trumpeter/flügelhornist had neglected his chops during his hiatus from recording, and his playing on Thelonious Monk's "Blue Monk" and James Williams' "Alter Ego" (both from Harlem Blues) reflects that. But Byrd still played with feeling, and material from Getting Down to Business and A City Called Heaven finds his chops improving gradually. To his credit, Keepnews made sure that Byrd was surrounded by many first-class improvisers from 1987-1991: Joe Henderson, Kenny Garrett, Mulgrew Miller, and Bobby Hutcherson are among the heavyweights featured on these sessions. Landmarks isn't in a class with Byrd's classic Blue Note output of the '50s and '60s, but the material is pleasing and enjoyable nonetheless.


Né(e) : 9 décembre 1932 à Detroit, MI

Genre : Jazz

Années d’activité : '50s, '60s, '70s, '80s, '90s, '00s

Donald Byrd was considered one of the finest hard bop trumpeters of the post-Clifford Brown era. He recorded prolifically as both a leader and sideman from the mid-'50s into the mid-'60s, most often for Blue Note, where he established a reputation as a solid stylist with a clean tone, clear articulation, and a knack for melodicism. Toward the end of the '60s, Byrd became fascinated with Miles Davis' move into fusion, and started recording his own forays into the field. In the early '70s, with the...
Biographie complète