Back catalogue: All genres

Review: Blue Note are on a reissuing roll, not shying from revisiting the work of their most treasured jazz acts this year. The latest in their Classic Editions comes by way of Donald Byrd, whose timeless 1975 album Places And Spaces documents the trumpeter's fearless jazz-funk fusion era. This being Blue Note, you can expect only the best rendition of this orchestral jazz-funk suite that a vinyl pressing has to offer. This version is an all-analog remaster, by legendary cutting engineer Kevin Gray, from the original tapes. Expect a thorough justice-doing of the hits, 'Dominoes' and 'Wind Parade', which boast production credits from the infamous Larry Mizell.

Review: Donald Byrd is one of our favourite trumpeters to adorn the Blue Note hall of fame; once more, the eminent label bursts open our doors with a fresh LP documenting an obscure live appearance. This time chronicling his appearance in November 1960 in New York venue Half Note, it hears Byrd feature alongside Pepper Adams, Duke Pearson, Laymon Jackson and Lex Humphries. With inclusions of such Byrd standards and favourites as 'My Shy Girl', 'Cecile' and 'Soulful Kiddy', this is as uptempo yet bluesy a live album as you can possibly get.

Review: Donald Byrd's Royal Flush, released in 1961 on Blue Note, exemplifies his mastery of hard bop, featuring a stellar lineup that includes a young Herbie Hancock on piano, Pepper Adams on baritone sax, Butch Warren on bass, and Billy Higgins on drums. This album marks Hancock's recording debut, showcasing his burgeoning talent as he steps into the shoes of Duke Pearson. The combination of Byrd's trumpet and Adams' baritone sax creates a unique, textured harmony that is both bold and refined. Tracks like 'Hush' and 'Shangri-La' highlight the band's cohesive interplay, with solos that are both distinct and beautifully integrated into the compositions. 'Requiem,' a standout piece penned by Hancock, offers a mid-tempo, gospel-tinged piano blues that allows Hancock to explore melodic space, supported by Byrd and Adams' plaintive lines and Warren's resonant bowed bass solo. What sets Royal Flush apart is Byrd's understated leadership, allowing each musician to shine while maintaining a unified sound. The result is an album rich in melody, brimming with the synergy of seasoned players and a young, innovative pianist on the rise.

Review: The great and hugely prolific Donald Byrd dropped many seminal albums both solo and with his Byrds and 'Byrd's Eye View', arriving now on Blue Note's Tone Poet Series which is renowned for its audiophile-grade vinyl reissues, is one of them that makes for a captivating jazz journey. With Byrd's virtuosity and innovation shining throughout, the album showcases his signature blend of hard bop and soulful melodies. It features six cuts and comes with a nice booklet that provides a wreath of context and background information to soak up while you sink into the sounds.

Review: This is a very special release indeed, for fans of Donald Byrd's 70s period and Blue Note devotees of all types. There was a heavy presence from the Blue Note roster at the 1973 Montreux Jazz Festival, and many of the performances were released under the Live Cookin With Blue Note at Montreux banner - Bobby Hutcherson, Bobbi Humphrey and Marlena Shaw being some notable mentions. But this set from Donald Byrd inexplicably sat on master tapes in relative obscurity for a long time and now, on what would have been Byrd's 90th birthday, this raw and urgent live performance gets a proper release. It's in the vein of his seminal Black Byrd LP, but there's a more direct attack from the band in their live form - take one listen and you'll see exactly what we mean.

Review: Donald Byrd's 1967 Slow Drag album came after the jazz legend had already recorded more than dozen albums for the seminal Blue Note label. He was joined for it by the drumming of Billy Higgins, alto saxophonist Sonny Red, pianist Cedar Walton, and bassist Walter Booker who all bring their own original compositions to the album. It's a pure hard bop session that marked the end of this chapter of Byrd's sound before he moved into fusion territory. Plenty of edgy groove-fess, ad-libbed vocals and boss flavours feature on what is one of many Byrd essentials.

Review: Recorded in 1956 for producer Tom Wilson's Transition Records, Byrd Blows on Beacon Hill presents trumpeter Donald Byrd in a relaxed quartet setting. Joined by Doug Watkins on bass, Boston-area musicians Ray Santisi on piano and Jim Zitano on drums, Byrd delivers a standards-heavy set recorded on a rainy spring afternoon in the Beacon Hill home of engineer Steve Fassett. This casual atmosphere contributes to the album's easygoing charm and intimate feel. Highlights include Byrd's lyrical rendition of Joe Sullivan's 'Little Rock Getaway' and beautiful interpretations of 'Polka Dots and Moonbeams,' 'If I Love Again,' and 'Stella by Starlight.' The trumpeter steps back on tracks like 'People Will Say We're in Love' and 'What's New,' allowing the trio to really shine.

Review: Jazz trumpet legend Donald Byrd has one of those seemingly endless discography that takes in solo and group albums and is full of treasure that is well worth exploring no matter your particularly stylistic penchant. 1963's A New Perspective is a landmark album that brings gospel and soul elements into his usual jazz sound. It features a stellar lineup including Herbie Hancock and Hank Mobley and the centerpiece is the iconic 'Cristo Redentor,' a soulful composition that showcases Byrd's lyrical trumpet playing. With its fusion of genres, the album broke new ground and paved the way for future jazz explorations that Pitchfork have said is one of the best albums of the 1960s. Byrd's innovative approach and the ensemble's tight chemistry make that so.