Jaki Byard Albums (26)
'The Last from Lennie's'
Release Date 11/4/2003
Tracks 7
Label Prestige
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What The Critics Say
There's a good and bad side of releasing old material that's been buried in a record label's vault or someone's attic. If the material's solid, say a live date from an artist's prime, then it's a Godsend. If the material is weak, or repeats earlier releases in a weaker form, it does a disservice to the artist. Luckily for fans of pianist Jaki Byard, the quartet recordings on Last From Lennie's are bursting with creative energy. Taped on April 14, 1965, Byard is joined by saxophonist Joe Farrell, bassist George Tucker, and drummer Alan Dawson for an adventurous live set. With a couple exceptions -- "After You've Gone/Strolling Along," and the obscure "King David" -- everything here clocks in at over nine minutes, leaving plenty of space for the band to explore the far edges of each piece. There are eight- and nine-minute versions of "Dolphy," a kinetic, off-kilter ode that recalls, though never imitates, Charles Mingus, with whom both Byard and Dolphy had played. Farrell's solo work takes some uncharted turns here, with the rest of the band pushing him on as Byard shouts out directions. Finally, one wouldn't want to miss the nine-minute medley of "Tea for Two," "Lover," "Strolling Along," "Cherokee," and "Shiny Stockings," all played at a marvelously mad pace. The interplay between all partners also brings forth great things from Tucker and Dawson, topping off an intense, fiery set. Like all good vault releases, Last From Lennie's reminds listeners of just how good Byard and his bandmates were. ~ Ronnie D. Lankford, Jr., All Music Guide
'Sunshine of My Soul'
Release Date 10/2/2001
Tracks 6
Label Prestige/OJC
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What The Critics Say
In 1967, Jaki Byard turned 45. At that age, some musicians are very set in their ways -- they have a niche, cater to it, and stick with whatever it is they do best. But Byard wasn't becoming complacent; the restless pianist was continuing to experiment and take chances, which is exactly what he does on Sunshine of My Soul. Recorded on Halloween 1967, this unpredictable post-bop/avant-garde effort finds Byard being influenced by a wide variety of pianists. One minute, his lyricism is acknowledging Erroll Garner and Dave Brubeck -- the next minute, he takes it outside and shows his appreciation of Cecil Taylor's free jazz. McCoy Tyner is an influence on original pieces like "Sunshine" and "Cast Away," while W.C. Handy's often-recorded "St. Louis Blues" (the only tune on the album that Byard didn't write) becomes an unlikely mixture of free jazz and stride -- sort of Taylor by way of James P. Johnson and Fats Waller. Taylor's influence is especially strong on the very stream-of-consciousness "Trendsition Zildjian," which is among the most abstract pieces that Byard has recorded. And whoever might be influencing Byard at a particular moment -- Taylor, Brubeck, Tyner, Garner, Bud Powell, or someone else -- the Bostonian always sounds like himself. Of course, a musician who is that broad-minded and eclectic needs musicians who are capable of keeping up with him and, thankfully, Byard has that in drummer Elvin Jones and bassist David Izenzon (known for his work with Ornette Coleman in the 1960s). Neither of them have a problem keeping up with Byard on this superb Prestige date, which Fantasy reissued on CD in 2001 under its Original Jazz Classics imprint. ~ Alex Henderson, All Music Guide
What The Critics Say
Pianist Jaki Byard (who also plays a bit of tenor and alto) uses a trio/quartet on this Muse album consisting of bassist Major Holley (switching to tuba on one tune), drummer J.R. Mitchell (on the 17½-minute five-part "Family Suite") and drummer-percussionist Warren Smith. In addition to a two-song medley of Duke Ellington and Billy Strayhorn, Byard performs the episodic "Family Suite," this early theme "Just Rollin' Along," the eccentric "L.H. Gatewalk Rag" and the thoughtful "Ballad for Louise." A typically stimulating and eclectic program of music by Jaki Byard. ~ Scott Yanow, All Music Guide
'On the Spot!'
Release Date 10/26/1999
Tracks 10
Label Original Jazz Classics
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What The Critics Say
This album mostly features pianist Jaki Byard (who plays alto on "A-Toodle-oo, Toodle-oo") with a quartet comprised of trumpeter Jimmy Owens, bassist Paul Chambers and drummer Billy Higgins in 1967. With a repertoire stretching from "I Fall In Love Too Easily" and the boppish "Second Balcony Jump" to "GEB Piano Roll" and even "Alexander's Ragtime Band," the music serves as a perfect outlet for Jaki Byard's eclectic talents; a highlight is the Byard-Chambers duet "P.C. Blues." The recording is rounded off by a leftover track ("Spanish Tinge") from a 1965 live session featuring Byard, bassist George Tucker and drummer Alan Dawson. ~ Scott Yanow, All Music Guide
'The Jaki Byard Experience'
Release Date 2/2/1999
Tracks 6
Label Prestige/OJC
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What The Critics Say
Pianist Jaki Byard and the wondrous Roland Kirk (here switching between tenor, clarinet, and manzello) were two of the few jazz musicians who could play in literally every jazz style, from New Orleans to bop and free form. If only they had recorded a history-of-jazz album. Fortunately, they did meet up on a few occasions, including this brilliant quartet session with bassist Richard Davis and drummer Alan Dawson. They romp on Bud Powell's "Parisian Thoroughfare," Thelonious Monk's "Evidence," "Shine on Me," and "Teach Me Tonight." Byard duets with Davis on his own "Hazy Eve," but best of all is the pianist's duet with Kirk on "Memories of You." This set was also reissued as half of the Roland Kirk two-LP set Pre-Rahsaan. ~ Scott Yanow, All Music Guide
What The Critics Say
In these piano and cello duets, it's clearly a classical upbringing with jazz sensibilities that each of these two musicians brings to the table. There's a beautiful sense of harmonic understanding and freedom, a sense of timing beyond structured rhythms, and an empathy that these two retain simply by listening closely to one another. They split writing duties, but it's evident that spontaneous composition is the key here. On the piano Byard is an expert at stair-step delicacy, and he proves this during the title cut. He has a feel for Americana, evidenced by "Louise," and his knowledge of economy is featured on his solo "To Our Family," in which he uses more space than notes. Eyges plays the electric (amplified only) cello masterfully, whether singing lead with Byard's piano in the background during his (not Monk's) piece "Reflections," doing the same on his solo "Broken Circle," or plucking as a bassist would for the free, call and response-based improv "Why It Is." At their most interactive the two artists dig deeply into cool, 12-bar blues grooves for the more barrelhouse-inflected 5/4 "Gimme Some/Cinco Quatro Boogie Woogie," and the groove to chamber-like multiple motifs of "Epietis, Phaedrus, Terence, Metis" with a haunting piano and cello in unison, chiming the refrain. Bowed cello leads to fractious, edited, minced piano chords on "The Chase," while the introspective lullaby "Waltz for Louise" shows Byard and Eyges at their zenith, in terms of coalescing their theoretically shared sound and values. The ballad "Toni" has mixed feelings of longing, sorrow, hopefulness, and bright passion. This is a compelling, beautiful recording, perhaps one-of-a-kind in the creative jazz field. It's also a great showpiece for the brilliance of two clearly skilled improvisers, who are also romanticists and pure music lovers. Night Leaves is highly recommended, and unquestionably a high point in both of their careers. ~ Michael G. Nastos, All Music Guide
What The Critics Say
Following the success of Here's Jaki, the eclectic pianist continued his explorations in a trio format, with Pete La Roca replacing Roy Haynes on the drums. The set mixes standards with some forgotten gems, plus three originals. The "Excerpts from Yamecraw" is an updated version of the nearly forgotten James P. Johnson orchestral suite, which is complimented here by the Byard original "There Are Many Worlds," which was also written for an orchestra. "Tillie Butterball" is a fun blues romp based on a puppy and a bowling alley. Byard's distinctive approach is evident on Randy Weston's title track "Hi-Fly" and George Shearing's "Lullaby of Birdland," while his debt to Thelonious Monk, sprinkled throughout this session, is obvious on "'Round Midnight." What makes this session special, however, is his original "Here to Hear." His multi-influenced compositional style matched by his versatile technique is explored at length. There are certain pieces that can never be interpreted by anyone else but the composer, and that is the case here, for it would be virtually impossible, and futile, to try and duplicate the individual genius of Jaki Byard. This stands as one of his best. ~ Robert Taylor, All Music Guide
What The Critics Say
Jaki Byard was in a mellow mood for these sessions recorded in early 1996, two years before his still-unsolved murder. Accompanied by bassist Ralph Hamperian and drummer Richard Allen, this CD emphasizes ballads for the most part. His treatment of "September Song" is especially lyrical, with a few rumbling chords and a tasty bass solo by Hamperian. He shows some of his trademarked playfulness, and a bit of light stride piano in an otherwise meditative interpretation of Duke Ellington's "Solitude." It's hard to top his abstract arrangement of John Coltrane's "Giant Steps," played at a glacier-like tempo, or the haunting beauty of Mal Waldron's "Left Alone." Byard's originals are always of interest. "The Changes of Life" is a bit ominous at first, then quickly segues into a breezy bop setting. Allen introduces "Mandella" with a tribal rhythm, with Hamperian's arco bass and Byard's floating chords gradually working their way in, though the percussion remains central to this miniature. Byard also revisits his extended "Family Suite," which previously appeared in part on Family Man. This hard-to-find Japanese CD, issued by Meldac, can be purchased through www.ejazzlines.com. ~ Ken Dryden, All Music Guide
'Here's Jaki'
Release Date 6/15/1995
Tracks 7
Label Prestige/New Jazz
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What The Critics Say
With 24-year-old, metro Detroit bassist Ron Carter and fellow Bostonian, veteran drummer Roy Haynes, pianist Byard has formed a partnership on this recording that effectively grasps modern jazz. This is no standard trio; they're a collective who romps through these seven selections with a surprise or more a minute. It's mainly due to Byard's refusal to sit still. Penning five of these not-so-easy pieces, Byard digs into a 5/4 modal calypso, rippling off minor incursions or stair-step delicate lines for the long jam "Cinco y Quatro." Part of an incomplete suite, "Mellow Septet" is an easy swinging blues much like "Freddie Freeloader," with Byard rambling in mid-section. He switches from Erroll Garner, elfish lines to a Fats Waller-type stride on "Garnerin' a Bit," replete with Carter's deep blue bass and Haynes' precision-stroked brushes. Of course, Byard loves to reharmonize and reinvent standards. "Giant Steps" is taken at half-tempo from the original, but the melody itself has twice as many notes, especially in the blizzard-like coda. A combo "Bess, You Is My Woman/It Ain't Necessarily So" starts with ruminating tom toms which introduce "Bess" as a sinister mistress, then depict her as an elegant sophisticate in ballad form. Haynes is knocked out by the woman, breaking out in bomb-like bursts twice during "So," and he is the fuse for a free-burning ending. Sometimes it seems as if these three are restrained, holding back the all-out power they possess. Shackles tossed aside, they can get it done like few other trios, and were they a working band during the next few decades, it would have been glorious to hear where they would take this format. "Here's Jaki" is a tip of the iceberg. ~ Michael G. Nastos, All Music Guide
What The Critics Say
Pianist Jaki Byard's first recording as a leader was not released domestically until this 1988 CD. That fact seems strange for Byard is absolutely brilliant on the solo piano set. Many of his selections (all nine tunes are his originals) look both backwards to pre-bop styles and ahead to the avant-garde including such numbers as "Pete and Thomas (Tribute to the Ticklers)," "Spanish Tinge No. 1," and "One, Two, Five." The most remarkable selection is "Jaki's Blues Next" which has Byard alternating between James P. Johnson-type stride and free form à la Cecil Taylor; at its conclusion he plays both styles at the same time. A highly recommended outing from a very underrated pianist. ~ Scott Yanow, All Music Guide
