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Title: Donald Byrd – Street Lady (1973) [Reissue 2020]
Genre: Jazz
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

A landmark album by Donald Byrd – the first one where he really started to click with jazz-funk producer Larry Mizell! Mizell and Byrd had worked together previously on the Black Byrd album – a soaring bit of futuristic jazz funk that took Byrd’s career to a whole new level – but this album’s the one where they really began to make the formula cook, blending together tight funky rhythms, spacey keyboards, soulful vocals, and some of Donald’s best solo work of the 70s! The whole thing’s a masterpiece, and all tracks sparkle – including “Lansana’s Priestess”, “Witch Hunt”, and “Street Lady”, one of the funkiest tracks ever on Blue Note. A haunting record with a beautiful spacey groove, and one of the best-ever albums on Blue Note!

Not so much a fusion album as an attempt at mainstream soul and R&B, Street Lady plays like the soundtrack to a forgotten blaxploitation film. Producer/arranger/composer Larry Mizell conceived Street Lady as a concept album to a spirited, independent prostitute, and while the hooker with a heart of gold concept is a little trite, the music uncannily evokes an urban landscape circa the early ’70s. Borrowing heavily from Curtis Mayfield, Isaac Hayes, and Sly Stone, Donald Byrd and Mizell have created an album that is overflowing with wah-wah guitars, stuttering electric pianos, percolating percussion, soaring flutes, and charmingly anemic, tuneless vocals. It’s certainly not jazz, or even fusion, but it isn’t really funk or R&B, either – the rhythms aren’t elastic enough, and all of the six songs are simply jazzy vamps without clear hooks. But the appeal of Street Lady is how its polished neo-funk and pseudo-fusion sound uncannily like a jive movie or television soundtrack from the early ’70s – you can picture the Street Lady, decked out in polyester, cruising the streets surrounded by pimps with wide-brimmed hats and platform shoes. And while that may not be ideal for jazz purists, it’s perfect for kitsch and funk fanatics.

hraudio | allmusic | discogs

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Title: Donald Byrd – Black Byrd (1973) [Reissue 2019]
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

A landmark album – Donald Byrd’s first session with producer Larry Mizell, the man who went onto forever change the face of jazz funk! After rumbling around for a few years attempting electric styles that really didn’t fit his mode, Donald wisely hooked up with Larry, and hit a groove here that would carry him for many many years. The album’s a masterpiece of soul – heavy production with great keyboards, creating a nice set of grooves that let Byrd solo over the top, sounding better than he had in years! Great all the way through, and with tracks that include “Flight Time”, “Sky High”, “Black Byrd”, “Slop Jar Blues”, “Mr Thomas”, and the prophetically-titled “Where Are We Going?”.

Purists howled with indignation when Donald Byrd released Black Byrd, a full-fledged foray into R&B that erupted into a popular phenomenon. Byrd was branded a sellout and a traitor to his hard bop credentials, especially after Black Byrd became the biggest-selling album in Blue Note history. What the elitists missed, though, was that Black Byrd was the moment when Byrd’s brand of fusion finally stepped out from under the shadow of his chief influence, Miles Davis, and found a distinctive voice of its own. Never before had a jazz musician embraced the celebratory sound and style of contemporary funk as fully as Byrd did here – not even Davis, whose dark, chaotic jungle-funk stood in sharp contrast to the bright, breezy, danceable music on Black Byrd. Byrd gives free rein to producer/arranger/composer Larry Mizell, who crafts a series of tightly focused, melodic pieces often indebted to the lengthier orchestrations of Isaac Hayes and Curtis Mayfield. They’re built on the most straightforward funk rhythms Byrd had yet tackled, and if the structures aren’t as loose or complex as his earlier fusion material, they make up for it with a funky sense of groove that’s damn near irresistible. Byrd’s solos are mostly melodic and in-the-pocket, but that allows the funk to take center stage. Sure, maybe the electric piano, sound effects, and Roger Glenn’s ubiquitous flute date the music somewhat, but that’s really part of its charm. Black Byrd was state-of-the-art for its time, and it set a new standard for all future jazz/R&B/funk fusions – of which there were many. Byrd would continue to refine this sound on equally essential albums like Street Lady and the fantastic Places and Spaces, but Black Byrd stands as his groundbreaking signature statement.

hraudio | allmusic | discogs

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