Natural Pleasure saison 4 vol 20

Retrouvez comme tous les vendredis, Frankito et Dr No des disques Superfriends pour 1h30 aux platines dans le cadre de Natural Pleasure.
Une partie de l'émission sera en hommage à Donald Byrd, trompettiste disparu récemment à l'age de 80 ans.

Les Superfriends accueillent Gilles Peterson à Annecy le jeudi 28 février pour une soirée au « The Marcel »


infos facebook: http://www.facebook.com/events/159601897523614/
De passage par Annecy avant son Wolrdwide Festival à Leysin du 20 au 24 Mars
http://www.worldwidefestival.com/fr/

Natural Pleasure saison 4 vol 200
Diffusion sur radio meuh: Vendredi 15 février
rediff: dimanche à 18h et lundi à 14h

Donald Byrd:

Donald Byrd naît à Detroit et étudie la musique à l'université de Wayne State avant de servir dans l'US Air Force entre 1951 et 1953, où il continue de pratiquer la musique en intégrant plusieurs groupes1,2. Il obtient un bachelor`s degree puis s'installe à New York en 1955. Il poursuit ses études à la Manhattan School of Music et décroche un master's degree1.
Carrière musicale

Donald Byrd devient l'une des figures du courant hard bop3,4. Alors qu'il est encore étudiant à Manhattan, il rejoint les Jazz Messengers d'Art Blakey2, puis joue avec de très nombreux jazzmen, dont Max Roach, John Coltrane, Sonny Rollins et Thelonious Monk2,3. En 1960, Byrd recrute Herbie Hancock, qui est alors un jeune pianiste au talent prometteur, dans le quintette qu'il a formé en 1958 avec le saxophoniste Pepper Adams

Dans les années 1970, il s'éloigne du mouvement hard bop et se tourne vers le jazz-rock fusion, le jazz-funk, le soul-jazz et le rhythm and blues. Il produit alors Black Byrd (en), avec les Mizell Brothers (en). L'album atteint la 88e place du Billboard Hot 100. Vendu à plus d'un million d'exemplaires3, il demeure longtemps le disque le plus populaire du label Blue Note Records1. En 1973, il monte le groupe The Blackbyrds (en), composé d'étudiants de l'université Howard, afin de produire leur musique1,6. Le groupe rencontre le succès avec des titres comme Walking in Rhythm et Time is Movin, qui se classent dans le Top 20 du hit parade rhythm and blues3, ou encore Rock Creek Park qui est par la suite fréquemment samplé par les artistes rap comme Nas et Public Enemy1.

Au début des années 1960, Donald Byrd étudie la composition en Europe auprès de Nadia Boulanger3,7. Il se consacre ensuite à l'enseignement de la musique dans plusieurs établissements. D'abord à l'université Rutgers, où il donne le premier cours de jazz8, puis à l'université Howard entre 1968 et 1975, où le trompettiste développe un programme d'étude de la musique noire3,7. Byrd donne aussi des cours à l'université centrale de Caroline du Nord et à l'université Cornell1. Également diplômé en droit, il enseigne cette matière appliquée à l'industrie de la musique8. En 1982, un doctorat en éducation lui est décerné par le Teachers College (en) de l'université Columbia1,6.

Donald Byrd was considered one of the finest hard bop trumpeters of the post-Clifford Brown era. He recorded prolifically as both a leader and sideman from the mid-'50s into the mid-'60s, most often for Blue Note, where he established a reputation as a solid stylist with a clean tone, clear articulation, and a knack for melodicism. Toward the end of the '60s, Byrd became fascinated with Miles Davis' move into fusion, and started recording his own forays into the field. In the early '70s, with the help of brothersLarry and Fonce Mizell, Byrd perfected a bright, breezy, commercially potent take on fusion that was distinct from Davis, incorporating tighter arrangements and more of a smooth soul influence. Opinions on this phase of Byrd's career diverge wildly — jazz purists utterly despised it, branding Byrd a sellout and the records a betrayal of talent, but enraptured jazz-funk fans regard it as some of the most innovative, enduring work of its kind. In fact, proportionately speaking, Byrd is held in even higher esteem by that audience than by straight-ahead jazz fans who enjoy his hard bop output.
Donaldson Toussaint L'Ouverture Byrd II was born in Detroit, MI, on December 9, 1932. His father, a Methodist minister, was an amateur musician, and Byrd was already an accomplished trumpeter by the time he finished high school, having performed with Lionel Hampton. Byrd served a stint in the Air Force, during which time he played in a military band, and subsequently completed his bachelor's degree in music at Wayne State University in 1954. He moved to New York in 1955 to get his master's at the Manhattan School of Music, and soon began performing with pianist George Wallington's group. In December of that year, he was invited to join Art Blakey's Jazz Messengers, filling a chair once held by his idol, Clifford Brown, and Kenny Dorham. Byrd also began his recording career during this period, leading several sessions (mostly for Savoy) and working often as a sideman, particularly at the Prestige label. He left the Jazz Messengers in 1956 and joined up with Max Roach; he went on to play with the likes of John Coltrane, Sonny Rollins, and Red Garland, and also co-founded the Jazz Lab Quintet with altoist Gigi Gryce in 1957.

In 1958, Byrd signed an exclusive recording contract with Blue Note, and also formed a band with baritonist Pepper Adams, who would remain Byrd's regular partner until 1961. Byrd's Blue Note debut was 1958's Off to the Races, and he and Adams collaborated on a series of excellent hard bop dates over the next three years, including Byrd in Hand (1959), At the Half Note Cafe, Vols. 1-2 (1960), The Cat Walk(1961), and Royal Flush (also 1961), among others. Another 1961 recording, Free Form, found Byrd giving a young Herbie Hancock some of his earliest exposure. Following this burst of activity, Byrd took a sabbatical to continue his studies in Europe, where he spent some time under the tutelage of the legendary French music educator Nadia Boulanger. He returned to the U.S. in 1963 and recorded A New Perspective, a now-classic set that broke new ground by incorporating gospel choirs into its arrangements; its signature piece, « Cristo Redentor, » became quite popular.

In the mid-'60s, Byrd focused more of his energies on teaching, and worked diligently to make jazz and its history a legitimate part of the college curriculum. He taught at Rutgers, Hampton, New York University, and Howard in the late '60s, and the last one remained a steady association for much of the '70s. In the meantime, Byrdcontinued to record occasionally, cutting a final spate of hard bop albums over 1966-1967 that included Mustang! and Blackjack. Byrdalso began to study African music, inspired partly by the emerging black-consciousness movement, and became interested in Miles Davis' efforts to woo a younger audience (including Byrd's own students) by experimenting with electronics and funk rhythms. 1969's Fancy Free found Byrd using electric piano for the first time, with a spacy sound that recalled Davis' In a Silent Way. 1970's Electric Byrd had more of aBitches Brew flavor, and the jams on 1971's Ethiopian Knights were longer, funkier, and more aggressive.

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