Bill Coleman, Don Byas - Bill Coleman Don Byas Combo

Bitrate: MP3@320K/s
Time: 77:58
Size: 178.5 MB
Styles: Bop
Year: 2011
Art: Front

[2:44] 1. Announcement
[3:29] 2. Idaho
[3:11] 3. Let's Try Again
[5:18] 4. Body & Soul
[3:04] 5. After You've Gone
[3:16] 6. Ain't Misbehavin'
[4:36] 7. Garni Blues
[2:28] 8. Lady Be Good
[4:02] 9. Just You, Just Me
[4:47] 10. Laura
[6:14] 11. Flying Home
[3:47] 12. The Chase
[5:51] 13. Thee O'clock In The Morning
[3:25] 14. St. James Infirmary
[1:44] 15. How High The Moon
[2:26] 16. Dancers In Love
[4:36] 17. Moon Glow
[5:05] 18. Stormy Weather
[3:42] 19. Hey Ba-Ba-Rebop
[4:04] 20. St. Louis Blues

Two fine musicians in an unfortunate poorly recorded performance.

Bill Coleman Don Byas Combo

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Ben Webster, Don Byas - Ben Webster Meets Don Byas

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 36:55
Size: 85,0 MB
Art: Front

(7:04)  1. Blues for Dottie Mae
(5:46)  2. Lullaby to Dottie Mae
(6:08)  3. Sunday
(5:47)  4. Perdido
(3:00)  5. When Ash Meets Henry
(9:07)  6. Caravan

This early-'70s meeting between two giants of the tenor sax (both of whom by this time were living in Europe on a permanent basis) is full of memorable moments. The styles of Ben Webster and Don Byas provide a distinct contrast (though Byas was also a swing-influenced saxophonist, he was heavily into bop as well), yet they mesh very well together. On their opening improvised "Blues for Dottie Mae," Webster's big toned swing tends to dominate, though Byas' boppish lines dart around at lightning speeds; Tete Montoliu's bluesy piano provides the perfect support. The roles are evened out a bit more on a swinging take of "Sunday." The evenly matched tenor battle continues with a rousing "Perdido" and very swinging "Caravan." Bassist Peter Trunk introduces Byas' "Lullaby to Dottie Mae," an easygoing reworking of the timeless ballad "Body and Soul," which features a rapid-fire solo by Byas. Webster's turn in the solo spotlight is his own ballad "When Ash Meets Henry," in which he is accompanied only by Trunk's well chosen basslines. Also present on the date is drummer Albert "Tootie" Heath. Sadly, this LP was a bit of a swan song for both tenor saxophonists; Byas died in the year prior to its 1973 release, while Webster died the following year, though he taped at least one more album following this one. ~ Ken Dryden https://www.allmusic.com/album/ben-meets-don-byas-mw0000188808

Personnel:  Tenor Saxophone – Ben Webster, Don Byas; Bass – Peter Trunk; Drums – Albert Heath; Piano – Tete Montoliu

Ben Webster Meets Don Byas

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Don Byas - Ballads For Swingers

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 42:17
Size: 98,6 MB
Art: Front

(8:51)  1. Yesterdays
(7:01)  2. All The Things You Are
(8:21)  3. Lady Bird
(8:21)  4. Lover Man
(9:42)  5. I'll Remeber April

One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. He played with many top swing bands, including those of Lionel Hampton (1935), Buck Clayton (1936), Don Redman, Lucky Millinder, Andy Kirk (1939-1940), and most importantly Count Basie (1941-1943). An advanced swing stylist, Byas' playing looked toward bop. He jammed at Minton's Playhouse in the early '40s, appeared on 52nd Street with Dizzy Gillespie, and performed a pair of stunning duets with bassist Slam Stewart at a 1944 Town Hall concert. After recording extensively during 1945-1946 (often as a leader), Byas went to Europe with Don Redman's band, and (with the exception of a 1970 appearance at the Newport Jazz Festival) never came back to the U.S. He lived in France, the Netherlands, and Denmark; often appeared at festivals; and worked steadily. Whenever American players were touring, they would ask for Byas, who had opportunities to perform with Duke Ellington, Bud Powell, Kenny Clarke, Dizzy Gillespie, Jazz at the Philharmonic (including a recorded tenor battle with Hawkins and Stan Getz), Art Blakey, and (on a 1968 recording) Ben Webster. Byas also recorded often in the 1950s, but was largely forgotten in the U.S. by the time of his death. ~ Scott Yanow https://www.allmusic.com/artist/don-byas-mn0000172350/biography

Personnel:  Don Byas (tenor saxophone); Bengt Axen (Piano);  Niels-Henning Frsted Pedersen (bass) ;  Axel Riel (drums)

Ballads For Swingers

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Don Byas - Anthropology

Styles: Saxophone Jazz 

Year: 2009

File: MP3@320K/s

Time: 52:26

Size: 120,1 MB

Art: Front

( 5:51)  1. Anthropology

( 7:29)  2. There Will Never Be Another You

( 6:20)  3. Walkin'

(10:31)  4. A Night in Tunisia

( 7:16)  5. Billie's Bounce

( 7:39)  6. Don't Blame Me

( 7:17)  7. Moonlight In Vermont

Don Byas was one of the great tenor saxophonists in jazz history but, due to his decision to move permanently to Europe in 1946, he remains very underrated in the jazz history books. This superlative set (in which he is backed by pianist Bent Axen, bassist Niels Pedersen and drummer William Schiopffe) finds Byas stretching out in a club on five jazz standards; listen to him tear into "Anthropology" and "Billies's Bounce." It is hard to believe, listening to this heated music, that Byas (who would live until 1972) only would be recorded twice more as a leader. ~ Scott Yanow https://www.allmusic.com/album/anthropology-mw00008930

Personnel:  Tenor Saxophone – Don Byas;  Bass – Niels-Henning Ørsted Pedersen;  Drums – William Schiöpffe;  Piano – Bent Axen

Anthropology

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Don Byas - Billie's Bounce

Bitrate: MP3@320K/s
Time: 95:02
Size: 217.5 MB
Styles: Saxophone jazz
Year: 2016
Art: Front

[ 8:27] 1. Lady Bird
[ 8:53] 2. Yesterdays
[ 9:45] 3. I'll Remember April
[ 8:22] 4. Lover Man
[ 7:22] 5. A Night In Tunisia
[ 5:48] 6. Anthropology
[10:28] 7. A Night In Tunisia (Alternate Take)
[ 7:27] 8. There Will Never Be Another You
[ 6:18] 9. Walkin'
[ 7:13] 10. Billie's Bounce
[ 7:17] 11. Moonlight In Vermont
[ 7:37] 12. Don't Blame Me

One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. He played with many top swing bands, including those of Lionel Hampton (1935), Buck Clayton (1936), Don Redman, Lucky Millinder, Andy Kirk (1939-1940), and most importantly Count Basie (1941-1943). An advanced swing stylist, Byas' playing looked toward bop. He jammed at Minton's Playhouse in the early '40s, appeared on 52nd Street with Dizzy Gillespie, and performed a pair of stunning duets with bassist Slam Stewart at a 1944 Town Hall concert. After recording extensively during 1945-1946 (often as a leader), Byas went to Europe with Don Redman's band, and (with the exception of a 1970 appearance at the Newport Jazz Festival) never came back to the U.S. He lived in France, the Netherlands, and Denmark; often appeared at festivals; and worked steadily. Whenever American players were touring, they would ask for Byas, who had opportunities to perform with Duke Ellington, Bud Powell, Kenny Clarke, Dizzy Gillespie, Jazz at the Philharmonic (including a recorded tenor battle with Hawkins and Stan Getz), Art Blakey, and (on a 1968 recording) Ben Webster. Byas also recorded often in the 1950s, but was largely forgotten in the U.S. by the time of his death. ~bio by Scott Yanow

Billie's Bounce mc
Billie's Bounce zippy

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Don Byas - Round About Midnight

Bitrate: MP3@320K/s
Time: 45:07
Size: 103.3 MB
Styles: Saxophone jazz
Year: 1962/2011
Art: Front

[4:30] 1. Laura
[2:20] 2. Portrait Of Jennie
[3:45] 3. The Way You Look Tonight
[3:03] 4. Misty
[4:15] 5. I Remember Clifford
[4:10] 6. Autumn In New York
[4:22] 7. Round About Midnight
[2:59] 8. Smoke Gets In Your Eyes
[4:46] 9. My Funny Valentine
[3:40] 10. April In Paris
[3:39] 11. Moonlight In Vermount
[3:32] 12. Don't Blame Me

Don Byas (tenor saxophonist) was born October 21, 1912 in Muskogee, Oklahoma and passed away on August 24, 1972 in Amsterdam, The Netherlands. Both of Byas’ parents were musicians. His mother played the piano, and his father, the clarinet. Byas started his training in classical music, learning to play violin, clarinet and alto saxophone, which he played until the end of the 1920s. Benny Carter, who played many instruments, was his idol at this time. He started playing in local orchestras at the age of 17, with Bennie Moten,Terrence Holder and Walter Page. He founded and led his own college band, “Don Carlos and His Collegiate Ramblers”, during 1931-32, at Langston College, Oklahoma.

Byas switched to the tenor saxophone after he moved to the West Coast and played with several Los Angeles bands. In 1933, he took part in a West coast tour of Bert Johnson’s Sharps and Flats. He worked in Lionel Hampton’s band at the Paradise Club in 1935 along with the reed player and arranger Eddie Barefield and trombonist Tyree Glenn. He also played with Eddie Barefield, Buck Clayton, Lorenzo Flennoy and Charlie Echols.

In 1937, Byas moved to New York to work with the Eddie Mallory band, accompanying Mallory’s wife, the singer Ethel Waters, on tour, and at theCotton Club. He had a brief stint with arranger Don Redman’s band in 1938 and later in 1939-1940. He recorded his first solo record in May 1939: “Is This to Be My Souvenir” with Timme Rosenkrantz and his Barrelhouse Barons for Victor. He played with the bands of such leaders as Lucky Millinder, Andy Kirk, Edgar Hayes and Benny Carter. He spent about a year in Andy Kirk’s band, recording with him between March 1939 and January 1940, including a short solo on “You Set Me on Fire”. In September 1940, he had an eight bar solo on “Practice Makes Perfect”, recorded by Billie Holiday. He participated in sessions with the pianist Pete Johnson, trumpeter Hot Lips Page, and singer Big Joe Turner. In 1941 at Minton’s Playhouse he played with Charlie Christian, Thelonious Monk and Kenny Clarke in after hours sessions.

Round About Midnight mc
Round About Midnight zippy

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Don Byas - Tenor Giant

Bitrate: MP3@320K/s
Time: 34:41
Size: 79.4 MB
Styles: Bop, Saxophone jazz
Year: 1996
Art: Front

[2:55] 1. Three O'clock In The Morning
[2:44] 2. One O'clock Jump
[3:05] 3. Harvard Blues
[2:41] 4. Slammin' Around
[2:47] 5. Laura
[3:01] 6. Stardust
[3:00] 7. Slam, Don't Shake Like That
[3:00] 8. Dark Eyes
[2:44] 9. Humoresque
[2:57] 10. Wrap Your Troubles In Dreams
[2:47] 11. Smoke Gets In Your Eyes
[2:53] 12. Slamboree

Bass – Slam Stewart; Drums – Harold "Doc" West, J.C. Heard; Piano – Erroll Garner, Johnny Guarnieri; Tenor Saxophone – Don Byas. Recorded August 30, September 6 and November 1, 1945.

One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. He played with many top swing bands, including those of Lionel Hampton (1935), Buck Clayton (1936), Don Redman, Lucky Millinder, Andy Kirk (1939-1940), and most importantly Count Basie (1941-1943). An advanced swing stylist, Byas' playing looked toward bop. He jammed at Minton's Playhouse in the early '40s, appeared on 52nd Street with Dizzy Gillespie, and performed a pair of stunning duets with bassist Slam Stewart at a 1944 Town Hall concert. After recording extensively during 1945-1946 (often as a leader), Byas went to Europe with Don Redman's band, and (with the exception of a 1970 appearance at the Newport Jazz Festival) never came back to the U.S. He lived in France, the Netherlands, and Denmark; often appeared at festivals; and worked steadily. Whenever American players were touring, they would ask for Byas, who had opportunities to perform with Duke Ellington, Bud Powell, Kenny Clarke, Dizzy Gillespie, Jazz at the Philharmonic (including a recorded tenor battle with Hawkins and Stan Getz), Art Blakey, and (on a 1968 recording) Ben Webster. Byas also recorded often in the 1950s, but was largely forgotten in the U.S. by the time of his death. ~ Scott Yanow

Tenor Giant mc
Tenor Giant zippy

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Don Byas - Jazz In Paris: Laura

Styles: Saxophone Jazz
Year: 1952
File: MP3@320K/s
Time: 55:23
Size: 127,6 MB
Art: Front

(2:49)  1. Summertime
(2:36)  2. Night And Day
(2:58)  3. Easy To Love
(2:38)  4. Where Or When
(2:58)  5. Flamingo
(3:19)  6. Stardust
(2:50)  7. Old Man River
(2:45)  8. The Man I Love
(2:54)  9. Georgia On My Mind
(2:51) 10. Over The Rainbow
(4:16) 11. Laura
(2:54) 12. Somebody Loves Me
(3:20) 13. Old Folks At Home
(2:38) 14. Riviera Blues
(2:59) 15. Smoke Gets In Your Eyes
(4:07) 16. I Cover The Waterfront
(3:27) 17. It's The Talk Of The Town
(2:56) 18. A Pretty Girl Is Like A Melody

Don Byas was clearly a rising star when he walked away from fame. He was the first to hold the Lester Young chair in the Count Basie, before his 30th birthday. After two years with Basie he moved to New York City, where he played and recorded with the likes of Dizzy Gillespie and Coleman Hawkins. In 1946 Byas toured Europe and decided France was the place he wanted to live, and so he did.  Laura is a compilation of several recordings made by Byas between 1950 and 1952. This is Byas in a swing mode, playing slow to moderate tempo standards and ballads, and he is nothing short of magnificent. His playing is lavishly creative and sensual, with a background strain of melancholy. This is romantic swing music with Byas's sax front and center, singing out line after line of beautifully constructed tenor solos.  All three bands play capable, supportive roles, with the drummers consistently demonstrating a light touch. Occasionally, a pianist contributes a concise solo, with Art Simmons offering sensitive accompaniment and intelligent solo work throughout. But these are polite bands that graciously leave the spotlight to the saxophone. The gorgeous opener, "Summertime," sets the after-hours feel of the recording, and Byas never lets up. Laura is one of French label Gitane's Jazz in Paris series, notable not only for the quality of its releases but also for its handsome cover photos. Not since the old Blue Note covers from the 1950s and '60s has there been such an attractive presentation of jazz. Perhaps a few up-tempo tunes would have provided more variety to this recording, but for those in the mood for a master saxophonist playing some of the best laid back swing saxophone you're ever likely to hear, then Laura just might be the one. ~ Mike Neely https://www.allaboutjazz.com/laura-don-byas-gitanes-review-by-mike-neely.php
 

Personnel: Don Byas: tenor sax; Art Simmons: piano; Jean-Jacques Tiche: guitar; Roger Grasset: bass; Claude Marty: drums. (tracks 1,5,7,18). Don Byas: tenor sax; Maurice Vander: piano; Jean-Pierre Sasson: guitar; Jacques Medvedko: bass; Benny Bennett: drums. (tracks 2-4, 8-10). Don Byas: tenor sax; Art Simmons: piano; Joe Benjamin: bass; Bill Clark: drums. (tracks 11-18).

Jazz In Paris: Laura

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Don Byas - Savoy Jam Party

Styles: Saxophone Jazz

Year: 1946

File: MP3@320K/s

Time: 73:48

Size: 169,7 MB

Art: Front

(2:55)  1. Riffin' And Jivin'

(3:39)  2. Free And Easy

(3:14)  3. Worried And Blue

(2:52)  4. Don's Idea

(2:58)  5. Savoy Jam Party

(3:00)  6. 1944 Stomp

(2:59)  7. What Do You Want With My Heart

(3:00)  8. Sweet And Lovely

(2:30)  9. White Rose Kick

(3:02) 10. My Deep Blue Dream

(2:39) 11. Byas'd Opinion

(3:18) 12. Candy

(2:56) 13. How High The Moon

(3:11) 14. Donby

(2:45) 15. Byas A Drink

(3:00) 16. I Don't Know Why

(3:02) 17. Old Folks

(3:01) 18. Cherokee

(2:58) 19. September In The Rain

(2:43) 20. Living My Life

(2:57) 21. To Each His Own

(2:23) 22. They Say It's Wonderful

(2:46) 23. Cynthia's In Love

(2:53) 24. September Song

(2:58) 25. St. Louis Blues

A former two-LP set with 32 tracks becomes a single CD consisting of the first 25 numbers. The packaging was shrunk to the point where the liner notes (which refer to all 32 songs) are nearly microscopic...But at least it is "an exact reproduction." Although this reissue from the Japanese Denon label could have been executed better, the music is excellent. Don Byas, one of the great tenors of the 1940s, is featured with groups ranging from a quartet to a sextet; the sideman include trumpeters Charlie Shavers, Emmett Berry and Benny Harris, altoist Rudy Williams, pianists Clyde Hart, Dave Rivera, Jimmy Jones, Teddy Brannon and Sanford Gold, bassists Slam Stewart and Milt Hinton and drummers J.C. Heard and Max Roach. Byas is in superior form on these late-period swing performances...it will interest those who can't find the original, better-packaged two-LP set (put out by Arista in the 1970s). ~ Scott Yanow http://www.allmusic.com/album/savoy-jam-party-the-savoy-sessions-mw0000645489

Personnel: Don Byas (tenor saxophone); Rudy Williams (alto saxophone); Charlie Shavers, Emmett Berry, Benny Harris (trumpet); Clyde Hart (piano, celeste); Dave Rivera, Jimmy Jones, Teddy Brannon, Sanford Gold (piano); Slam Stewart, Milt Hinton, John Levy, Frank Skeete, Leonard Gaskin (bass); Max Roach, J.C. Heard, Jack Parker, Fred Radcliffe (drums).

Savoy Jam Party

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Don Byas - Slammin' Around

Bitrate: MP3@320K/s
Time: 41:18
Size: 94.6 MB
Styles: Saxophone jazz
Year: 2010
Art: Front

[2:58] 1. Three O'clock In The Morning
[2:43] 2. One O'clock Jump
[3:05] 3. Harvard Blues
[2:40] 4. Slam-In' Around
[2:50] 5. Laura
[3:03] 6. Stardust
[3:03] 7. Slam, Don't Shake Like That
[3:03] 8. Dark Eyes
[2:58] 9. Super Session
[3:15] 10. Melody In Swing
[2:49] 11. Humoresque
[2:57] 12. Wrap Your Troubles In Dreams (And Dream Your Troubles Away)
[2:49] 13. Smoke Gets In Your Eyes
[2:57] 14. Slamboree

One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. He played with many top swing bands, including those of Lionel Hampton (1935), Buck Clayton (1936), Don Redman, Lucky Millinder, Andy Kirk (1939-1940), and most importantly Count Basie (1941-1943). An advanced swing stylist, Byas' playing looked toward bop. He jammed at Minton's Playhouse in the early '40s, appeared on 52nd Street with Dizzy Gillespie, and performed a pair of stunning duets with bassist Slam Stewart at a 1944 Town Hall concert. After recording extensively during 1945-1946 (often as a leader), Byas went to Europe with Don Redman's band, and (with the exception of a 1970 appearance at the Newport Jazz Festival) never came back to the U.S. He lived in France, the Netherlands, and Denmark; often appeared at festivals; and worked steadily. Whenever American players were touring, they would ask for Byas, who had opportunities to perform with Duke Ellington, Bud Powell, Kenny Clarke, Dizzy Gillespie, Jazz at the Philharmonic (including a recorded tenor battle with Hawkins and Stan Getz), Art Blakey, and (on a 1968 recording) Ben Webster. Byas also recorded often in the 1950s, but was largely forgotten in the U.S. by the time of his death. ~ bio by Scott Yanow

Slammin' Around

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Charlie Christian - The Immortal Charlie Christian

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 44:54
Size: 103,2 MB
Art: Front

(9:00)  1. Swing to Bop
(6:12)  2. Up on Teddy's Hill
(7:38)  3. Kerouac
(2:28)  4. Guy's Got to Go
(4:57)  5. Lips Flips
(3:00)  6. Blue n' Boogie
(3:12)  7. Hot House
(2:45)  8. Groovin' High
(2:50)  9. Dizzy Atmosphere
(2:48) 10. All the Things You Are

Aside from the name being misspelled on front and back cover, guitarist Charlie (not Charley) Christian was at the forefront of the bebop revolution. These ten tracks show why, and also gives rise to the notion of Christian being the first to wield an amplified electric guitar. The CD has a nice range of bop classics, three written by co-conspirator Dizzy Gillespie, two originals of Christian's, a lone standard, and a tribute to Jack Kerouac. This collection represents not only a smidgen of what Christian did before his career was tragically cut short, but opens a window into his grand contributions to jazz. Though only an appetizer and a bit flawed, it is tasty. ~ Michael G.Nastos http://www.allmusic.com/album/the-immortal-charlie-christian-mw0000122348

Personnel:  Bass – Nick Finton;  Drums – Kenny Clarke;  Guitar – Charlie Christian;  Piano – Kenny Kersey, Thelonious Monk;  Tenor Saxophone – Don Byas;  Trumpet – Dizzy Gillespie, Hot Lips Page, Joe Guy

The Immortal Charlie Christian

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Charlie Christian, Dizzy Gillespie - After Hours (Remastered)

Bitrate: MP3@320K/s
Time: 50:38
Size: 115.9 MB
Styles: Bop, Guitar jazz
Year: 1964/2000
Art: Front

[8:51] 1. Swing To Bop
[8:11] 2. Stompin' At The Savoy
[6:07] 3. Up On Teddy's Hill
[3:03] 4. Down On Teddy's Hill
[2:24] 5. Guy's Got To Go
[4:54] 6. Lips Flips
[6:12] 7. Stardust (Vers 1)
[7:29] 8. Kerouac
[3:22] 9. Stardust (Vers 2)

AFTER HOURS is an excellent live document of the early roots of bebop, capturing this exciting music in the process of being built by its pioneering architects. Recorded live in New York City at jam sessions at Minton's Playhouse and Monroe's Uptown House in 1941, these tapes feature young modernists Charlie Christian, Dizzy Gillespie, Thelonious Monk, Kenny Clarke, and Don Byas as they pushed the structural materials of swing toward something new and intense.

Beyond the historical significance of these sessions, however, the music is simply fabulous. There are revisions of "Stardust" and "Stompin' at the Savoy, " but the tunes are mainly blues-based improvisations, with plenty of syncopated play and stretched-out soloing from all involved. Christian's guitar takes center stage--his fluid, fleet-fingered style and mellow amplified tone have become such a stock part of jazz guitar, it is hard to remember that he almost single-handedly wrote the book. Though Gillespie gets double-billing on this set, he only appears on four of the nine tunes, but one can hear early hints of the advanced technical style that would explode in his work with Charlie Parker in the later '40s. This music is truly classic. ~AllMusic

After Hours (Remastered)

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Don Byas - Avalon

Bitrate: MP3@320K/s
Time: 36:37
Size: 83.8 MB
Styles: Bop, Saxophone jazz
Year: 2010
Art: Front

[3:04] 1. Avalon
[3:14] 2. Blue And Sentimental
[2:49] 3. Little White Lies
[3:16] 4. Out Of Nowhere
[3:03] 5. Deep Purple
[3:04] 6. Them There Eyes
[3:19] 7. Once In A While
[3:05] 8. My Melancholy Baby
[2:39] 9. Should I
[2:55] 10. You Call It Madness (But I Call It Love)
[2:53] 11. Jamboree Jump
[3:12] 12. Pennies From Heaven

One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. He played with many top swing bands, including those of Lionel Hampton (1935), Buck Clayton (1936), Don Redman, Lucky Millinder, Andy Kirk (1939-1940), and most importantly Count Basie (1941-1943). An advanced swing stylist, Byas' playing looked toward bop. He jammed at Minton's Playhouse in the early '40s, appeared on 52nd Street with Dizzy Gillespie, and performed a pair of stunning duets with bassist Slam Stewart at a 1944 Town Hall concert. After recording extensively during 1945-1946 (often as a leader), Byas went to Europe with Don Redman's band, and (with the exception of a 1970 appearance at the Newport Jazz Festival) never came back to the U.S. He lived in France, the Netherlands, and Denmark; often appeared at festivals; and worked steadily. Whenever American players were touring, they would ask for Byas, who had opportunities to perform with Duke Ellington, Bud Powell, Kenny Clarke, Dizzy Gillespie, Jazz at the Philharmonic (including a recorded tenor battle with Hawkins and Stan Getz), Art Blakey, and (on a 1968 recording) Ben Webster. Byas also recorded often in the 1950s, but was largely forgotten in the U.S. by the time of his death. ~bio by Scott Yanow

Avalon

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Don Byas Quartet - Don Byas Quartet Featuring Sir Charles Thompson

Styles: Saxophone and Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 66:49
Size: 153,5 MB
Art: Front

(5:35)  1. Autumn Leaves
(7:08)  2. Darn That Dream
(7:25)  3. Bags' Groove
(7:14)  4. Tenderly
(7:03)  5. But Not for Me
(8:58)  6. Gone With the Wind
(7:04)  7. The Girl from Ipanema
(7:45)  8. Lover Man
(6:30)  9. Stella by Starlight
(2:03) 10. Jumpin' at Basie's (Theme)

Don Byas, believing he was never going to get the recognition he deserved in this country because of bigotry, left the United States for Europe and never looked back. Virtually all of his good work was done on the Continent. Usually cited as one of the first tenor saxophonist to take up Bop, Byas never let go of his romantic and swinging roots. This reissue of a free wheeling live performance demonstrates how successful Byas was in merging all these influences into his recognizable sax sound. Tracks like "Gone with the Wind", and "Darn That Dream" recall Byas' classic 1953 outing with Mary Lou Williams where he brought the ballad sax to a new level. At the same time, "Autumn Leaves" brings to the fore Byas' bop proclivities which he so eloquently waxed on his mid 1940 sides for Savoy. On a lengthy "Tenderly"  more than seven minutes  the sax man engages in imaginative improvisation. "But Not for Me" swings like crazy recalling Byas' days with the Count Basie Orch. when he took over Lester Young's chair. 

Byas is joined on this set by another emigree, pianist Sir Charles Thompson. These two were together on that famous jazz highway, New York's 52nd Street, during the early days of Bop before departing for more appreciative shores. Thompson took a relatively simplistic, clean approach to the piano, leaving lots of space between the chords. This creates a favorable contrast with the sometimes busy sax of Byas. Occasional bumps in the road notwithstanding, this CD offers an hour of solid playing from two of jazz history's more neglected figures. The only complaint with this CD is that sometimes Thompson sounds as if he's playing the piano in the next room. Despite that flaw, this album is recommended. ~ Dave Nathan  http://www.allaboutjazz.com/featuring-sir-charles-thompson-don-byas-storyville-records-review-by-dave-nathan.php
 

Personnel:  Don Byas - Tenor Sax;  Sir Charles Thompson- Piano;  Isla Eckinger - Bass;  Peter Schmidlin -Drums

Don Byas Quartet Featuring Sir Charles Thompson

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Bud Powell and Don Byas - A Tribute to Cannonball

Styles: Piano And Saxophone Jazz

Year: 1961

File: MP3@320K/s

Time: 61:21

Size: 140,9 MB

Art: Front

(5:11)  1. Just One of Those Things

(4:49)  2. Jackie My Little Cat

(6:20)  3. Cherokee

(6:17)  4. I Remember Clifford

(6:32)  5. Good Bait

(6:00)  6. Jeannine

(7:25)  7. All The Things You Are

(5:33)  8. Myth

(5:17)  9. Jackie My Little Cat (Alternate)

(7:51) 10. Cherokee (Unissued alternate)

The title of this album is misleading for, although Cannonball Adderley produced the session, no "tribute" takes place. Adderley could always recognize talent and he was wise to get the veteran tenor Don Byas (who had not recorded since 1955) back on record. Teamed in Paris with trumpeter Idrees Sulieman, pianist Bud Powell, bassist Pierre Michelot and drummer Kenny Clarke, Byas proved to be in prime form on a variety of jazz standards including "Just One of Those Things," "Cherokee" and "Jeannine." This set has also been reissued on CD under Bud Powell's name. ~ Scott Yanow  http://www.allmusic.com/album/a-tribute-to-cannonball-mw0000026090

Personnel: Don Byas (tenor saxophone); Idrees Sulieman (trumpet); Bud Powell (piano); Kenny Clarke (drums).

A Tribute to Cannonball

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Don Byas - Walkin'

Styles: Saxophone Jazz
Year: 1963
File: MP3@320K/s
Time: 53:32
Size: 123,8 MB
Art: Front

( 7:30)  1. There'll Never Be Another You
( 7:41)  2. Don't Blame Me
( 7:16)  3. Billie's Bounce
(10:31)  4. A Night In Tunisia
( 6:21)  5. Walkin'
( 7:19)  6. Moonlight In Vermont
( 6:51)  7. All The Things You Are

The second of two CDs taken from the same appearances at the Montmartre in Copenhagen as A Night in Tunisia, this release showcases the masterful (if underrated) tenor Don Byas in a quartet with pianist Ben Axen, bassist Niels Pedersen and drummer William Schiopffe. Byas was always a powerful player and he digs into such songs as "There'll Never Be Another You," "Billie's Bounce" and "All the Things You Are," coming up with exciting and consistently inventive ideas. All jazz collections should have at least a couple of Don Byas albums. ~ Scott Yanow  http://www.allmusic.com/album/walkin-mw0000083503

Personnel: Don Byas (tenor saxophone); Bent Axen (piano); Niels-Henning Orsted Pedersen (bass); William Schiopffe (drums).

Walkin'

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Don Byas - Autumn Leaves

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 74:08
Size: 169,9 MB
Art: Front

( 0:32)  1. Ronnie's intro
(14:03)  2. Autumn leaves
( 9:22)  3. I remember Clifford
(13:06)  4. Bag's groove
( 9:20)  5. All the things you are
(10:06)  6. Ladybird
( 7:21)  7. Moonlight in Vermont
(10:14)  8. Walkin'

One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. He played with many top swing bands, including those of Lionel Hampton (1935), Buck Clayton (1936), Don Redman, Lucky Millinder, Andy Kirk (1939-1940), and most importantly Count Basie (1941-1943). An advanced swing stylist, Byas' playing looked toward bop. 

He jammed at Minton's Playhouse in the early '40s, appeared on 52nd Street with Dizzy Gillespie, and performed a pair of stunning duets with bassist Slam Stewart at a 1944 Town Hall concert. After recording extensively during 1945-1946 (often as a leader), Byas went to Europe with Don Redman's band, and (with the exception of a 1970 appearance at the Newport Jazz Festival) never came back to the U.S. He lived in France, the Netherlands, and Denmark; often appeared at festivals; and worked steadily. 

Whenever American players were touring, they would ask for Byas, who had opportunities to perform with Duke Ellington, Bud Powell, Kenny Clarke, Dizzy Gillespie, Jazz at the Philharmonic (including a recorded tenor battle with Hawkins and Stan Getz), Art Blakey, and (on a 1968 recording) Ben Webster. Byas also recorded often in the 1950s, but was largely forgotten in the U.S. by the time of his death. ~ Scott Yanow  https://itunes.apple.com/us/artist/don-byas/id269269#fullText

Personnel:  Don Byas - tenor saxophone;  Stan Tracey – piano;  Rick Laird – bass;  Tony Crombie - drums

Autumn Leaves

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Don Byas - All The Things You Are

Bitrate: MP3@320K/s
Time: 61:19
Size: 140.4 MB
Styles: Bop, Saxophone jazz
Year: 1996/2012
Art: Front

[ 6:50] 1. All The Things You Are
[ 6:18] 2. Walkin'
[ 7:37] 3. Don't Blame Me
[ 8:07] 4. Lady Bird
[ 7:27] 5. There'll Never Be Another You
[ 7:13] 6. Billie's Bounce
[ 7:16] 7. Moonlight In Vermont
[10:28] 8. A Night In Tunisia

Despite his bebop associations, Byas always remained deeply rooted in the sounds of swing. He started out by emulating Coleman Hawkins, but Byas always cited Art Tatum as his greater influence: “I haven’t got any style, I just blow like Art”. ~Clyde Hart

All The Things You Are

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Don Byas - When The Sun Comes Out

Bitrate: 320K/s
Time: 75:26
Size: 172.7 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[3:53] 1. Lover Man
[2:51] 2. When The Sun Comes Out
[3:14] 3. Darling, Je Vous Aime Beaucoup
[3:32] 4. If I Had You
[3:27] 5. Lover Come Back To Me
[2:25] 6. Time On My Hands
[3:13] 7. Remember My Forgotten Man
[6:29] 8. Blues It
[3:11] 9. You Came Along From Out Of Nowhere
[3:32] 10. Sweet Lorraine
[3:25] 11. Hold My Hand
[2:46] 12. I Can't Give You Anything But Love
[2:43] 13. One O'clock Jump
[2:49] 14. April In Paris
[2:40] 15. Just One Of Those Things
[2:59] 16. Don't Blame Me
[5:27] 17. Indiana
[3:23] 18. I Can't Get Started
[2:59] 19. Them There Eyes
[3:47] 20. Blues For Don Carlos
[3:24] 21. No One But You
[3:07] 22. Sincerely

One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. He played with many top swing bands, including those of Lionel Hampton (1935), Buck Clayton (1936), Don Redman, Lucky Millinder, Andy Kirk (1939-1940), and most importantly Count Basie (1941-1943). An advanced swing stylist, Byas' playing looked toward bop. He jammed at Minton's Playhouse in the early '40s, appeared on 52nd Street with Dizzy Gillespie, and performed a pair of stunning duets with bassist Slam Stewart at a 1944 Town Hall concert. After recording extensively during 1945-1946 (often as a leader), Byas went to Europe with Don Redman's band, and (with the exception of a 1970 appearance at the Newport Jazz Festival) never came back to the U.S. He lived in France, the Netherlands, and Denmark; often appeared at festivals; and worked steadily. Whenever American players were touring, they would ask for Byas, who had opportunities to perform with Duke Ellington, Bud Powell, Kenny Clarke, Dizzy Gillespie, Jazz at the Philharmonic (including a recorded tenor battle with Hawkins and Stan Getz), Art Blakey, and (on a 1968 recording) Ben Webster. Byas also recorded often in the 1950s, but was largely forgotten in the U.S. by the time of his death. ~bio by Scott Yanow

When The Sun Comes Out

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Don Byas - Big City Nights

Bitrate: 320K/s
Time: 57:29
Size: 131.6 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[2:46] 1. Laura
[2:47] 2. Riffin' And Jivin'
[2:21] 3. I'm Beginning To See The Light
[3:01] 4. Stardust
[2:59] 5. Embraceable You
[2:43] 6. Ain't Misbehavin'
[3:09] 7. Stormy Weather
[2:43] 8. Slam-In' Around
[3:05] 9. Harvard Blues
[2:48] 10. Rosetta
[2:49] 11. Blues For Panassie
[3:14] 12. Nancy
[2:55] 13. Body And Soul
[2:57] 14. Annie Laurie
[2:29] 15. I Can't Explain
[3:02] 16. Dark Eyes
[2:59] 17. Three O'clock In The Morning
[2:40] 18. Blue And Sentimental
[3:02] 19. These Foolish Things
[2:50] 20. Humoresque

One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. He played with many top swing bands, including those of Lionel Hampton (1935), Buck Clayton (1936), Don Redman, Lucky Millinder, Andy Kirk (1939-1940), and most importantly Count Basie (1941-1943). An advanced swing stylist, Byas' playing looked toward bop. He jammed at Minton's Playhouse in the early '40s, appeared on 52nd Street with Dizzy Gillespie, and performed a pair of stunning duets with bassist Slam Stewart at a 1944 Town Hall concert. After recording extensively during 1945-1946 (often as a leader), Byas went to Europe with Don Redman's band, and (with the exception of a 1970 appearance at the Newport Jazz Festival) never came back to the U.S. He lived in France, the Netherlands, and Denmark; often appeared at festivals; and worked steadily. Whenever American players were touring, they would ask for Byas, who had opportunities to perform with Duke Ellington, Bud Powell, Kenny Clarke, Dizzy Gillespie, Jazz at the Philharmonic (including a recorded tenor battle with Hawkins and Stan Getz), Art Blakey, and (on a 1968 recording) Ben Webster. Byas also recorded often in the 1950s, but was largely forgotten in the U.S. by the time of his death. ~ bio by Scott Yanow

Big City Nights

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