Little Boy Blue

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 melodic. 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 help of brothers Larry and Fonce Mizell, Byrd perfected a bright, breezy, commercially potent take on fusion that was distinct from Davis, incorporating tighter arrangements and more of a smooth soul influence. Opinions on this phase of Byrd's career diverge wildly - jazz purists utterly despised it, branding Byrd a sellout and the records a betrayal of talent, but enraptured jazz-funk fans regard it as some of the most innovative, enduring work of it's kind. In fact, proportionately speaking, Byrd was held in even higher esteem by that audience than by straight-ahead jazz fans who enjoyed his hard bop output.