Charlie Byrd Albums (42)
'Bamba-Samba Bossa Nova'
Release Date 10/11/2005
Tracks 8
Label Empire Musicwerks
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What The Critics Say
For this unusual set, guitarist Charlie Byrd is accompanied by what is billed as the Woody Herman Big Band, although it is mostly a studio orchestra sprinkled with a few of Herman's associates. The first four selections are Byrd originals that almost sound like bossa nova in spots, even though the style had not solidified and been named yet. Byrd's classical training and interest in Brazilian music are very much in evidence. The final selections are a re-creation of Ralph Burns' four-part "Summer Sequence," which at the time was over a decade old. The main difference between this and the original Herman recording is that Byrd is the main soloist throughout much of the extensive work. Although not quite essential, Bamba-Samba Bossa Nova (which has often been reissued under Woody Herman's name) has its moments of interest and shows how Charlie Byrd sounded before bossa nova took off. ~ Scott Yanow, All Music Guide
'Byrd in the Wind'
Release Date 9/17/2002
Tracks 12
Label Orig. Jazz Classics
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What The Critics Say
When Charlie Byrd recorded Byrd in the Wind in 1959, he was still two years away from discovering bossa nova. The guitarist had yet to interact with Astrud and João Gilberto or record anything by Antonio Carlos Jobim, and he had yet to become a major player in the Brazilian jazz field. Nonetheless, Byrd was an impressive jazzman even before he discovered bossa nova. Byrd (who sticks to the acoustic guitar on this album) already had a recognizably melodic sound -- one that underscored his appreciation of Django Reinhardt as well as Andrés Segovia and the Spanish school of classical guitar -- and he would have left behind a worthwhile catalog even if he had retired in 1960. The guitarist's classical leanings are hard to miss on Byrd in the Wind, especially when he employs woodwind players (all of them members of the National Symphony Orchestra) on some of the selections. His love of classical music is evident on "Stars Fell on Alabama" and other standards; it is equally evident on Byrd originals like "Swing 59" and "Showboat Shuffle." Although most of these 1959 recordings are instrumental, singer Ginny Byrd (the guitarist's wife) is featured on four tracks: "You'd Be So Nice to Come Home To," "You Came a Long Way From St. Louis," "Georgia on My Mind," and "Cross Your Heart." And her cool-toned performances show her to be a pleasant and capable (although not terribly original) vocalist with a strong Chris Connor/June Christy influence. Byrd in the Wind, which Fantasy reissued on CD in 2002 for its Original Jazz Classics (OJC) series, isn't among the guitarist's essential albums, but it's still a decent and pleasing document of his pre-bossa nova, pre-'60s period. ~ Alex Henderson, All Music Guide
What The Critics Say
Mild, smooth trio date with Byrd playing light jazz, occasional Afro-Latin, and even a mock classical number, backed by bassist Joe Byrd and drummer Bertell Knox. This sometimes comes close to, but never becomes, mood music. The 2000 reissue approximately doubles the length of the original release with seven previously unissued tracks (none alternate versions) cut at the same live sessions. The extra material is stylistically consistent with the rest of the disc, encompassing pop ("The Way We Were"), classic jazz ("It Don't Mean a Thing (If It Ain't Got That Swing)"), Vivaldi's "Concerto in G," and Antonio Carlos Jobim's "Meditation." ~ Ron Wynn & Richie Unterberger, All Music Guide
'My Inspiration: Music of Brazil'
Release Date 1/12/1999
Tracks 12
Label Concord Jazz
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What The Critics Say
When he recorded My Inspiration: Music of Brazil in May 1998, a 72-year-old Charlie Byrd was considered an elder statesman of Brazilian jazz as well as bebop. The guitarist had been involved with Brazilian jazz for 37 years, and his name was always among the first that came up in a discussion of the bossa nova. One of the many Brazilian-oriented projects he has recorded, My Inspiration finds the guitarist joined by the Brazilian group Trio Da Paz (which consists of guitarist Romero Lubambo, bassist Nilson Matta, and drummer Duduka Da Fonseca) as well as vocalist Maucha Adnet, Chuck Redd (who is heard on vibes instead of drums) and tenor saxman Scott Hamilton. Byrd embraces a few well-known Jobim standards on this CD, including "Agua de Beber" and "So Danco Samba," but thankfully, he doesn't limit himself to obvious choices -- he also turns his attention to material that ranges from Chopin's "Freddie's Tune" to the traditional Brazilian song "Violao Quebrada" and the 1930s show tune "My Inspiration." Hamilton, who is heard on half of the songs, enjoys an undeniably strong rapport with Byrd, which isn't surprising because they're both very lyrical and melodic. My Inspiration was a welcome addition to Byrd's sizable catalog. ~ Alex Henderson, All Music Guide
What The Critics Say
That old Django Reinhardt buff Charlie Byrd actually gets something resembling the drive of the Hot Club Quintette on this CD at times, but with unusual means. With Charlie on acoustic guitar and brother Joe Byrd on bass, Charlie's longtime drummer Chuck Redd shifts over to the vibraphone, and the three independent voices tumble intricately all around each other in a collection of standards. While not absolutely impeccable in technique, Byrd continues to get around his instrument in a swinging manner, and Redd proves to be a more than serviceable performer on the vibes. Inevitably (for Byrd), the Brazilian influence surfaces on tracks like "On a Clear Day," Jobim's "If You Never Came to Me," and Rodgers/Hart's "There's a Small Hotel," all of which bring us gently back to 1962. A modest yet pleasing experiment for the Charlie Byrd collector. ~ Richard S. Ginell, All Music Guide
'Christmas Carols for Solo Guitar'
Release Date 10/7/1997
Tracks 14
Label Sony Music Distribution
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What The Critics Say
Christmas Carols for Solo Guitar is a lovely, understated collection that's not only ideal as low-key holiday music, but it's also a good showcase for Byrd's interpretive talents. He doesn't necessarily reinvent these songs, but his tasteful, elegant readings of "O Holy Night," "God Rest Ye Merry Gentlemen," "Joy to the World," "What Child Is This? (Greensleeves)," "The First Noel" and "It Came Upon the Midnight Clear" are certainly individual. Holiday music is rarely this graceful; for fans of pretty instrumentals and accomplished guitar playing, this is a perfect Christmas record. ~ Robert Lovering, All Music Guide
'Du Hot Club De Concord'
Release Date 1/1/1995
Tracks 15
Label Concord Jazz
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What The Critics Say
This project is an inspired idea. Guitarist Charlie Byrd, who will always be best-known for his bossa nova recordings, also always loved Django Reinhardt's music. He heads du Hot Club de Concord, a group similar to the Quintet of the Hot Club of France, except that instead of being comprised of three guitars, one violin, and a bass, this ensemble has two guitars (with Frank Vignola playing rhythm behind Byrd), violinist Johnny Frigo, bassist Michael Moore, and Hendrik Meurkens on harmonica. The blend between harmonica and violin is particularly effective, and the repertoire ranges from swing tunes (including Byrd's "Swing '59") to some light Brazilian music, ballads, and standards. Byrd, Frigo, and Meurkens take plenty of fine solos, making this a highly recommended set. ~ Scott Yanow, All Music Guide
