Trumpeter Donald Byrd is here surrounded by a group of mediocre young apprentice players who have a natural bias towards rock. The music is what you might expect. Much overdubbing and processing seems to have been done in the ghastly named ‘Sound Factory’ (it soon will be 1984) but no amount of technology can tart up or disguise the thin sound of Byrd and the lacklustre state of his improvisational powers.
The inevitable two or three chords, ‘Shaft’ wah-wah guitar, the occasional doom-laden chant from the band. It is excruciatingly, embarassingly bad. Unless, of course, you happen to be Gertrude Gipson who states, ‘Donald Byrd has a magic know-how of the blending of instruments and in this LP you will become cognizant of a vital, intense and enthralling power like no other music you have heard and it all adds up to one important factor. Donald Byrd is a man with a genius for sound.’ Those who feel strongly and are unfortunate enough to buy this album should remember that there is a Trades Descriptions Act which it might be worth invoking.
Five engineers and an ‘electronic music consultant’ helped Mr. Byrd and company give birth to this musical mouse. It is interesting only in that it shows us how a once reliable jazz player is prepared to sacrifice his artistry in the production of commercial trivia.
Discography
Flight Time; Black Byrd; Love’s So Far Away (20½ min) – Mr. Thomas; Sky High; Slop Jar Blues; Where Are We Going? (21¾ min)
Donald Byrd (tpt): Alan Barnes (sax/oboe/flt); Kevin Toney (pno): Barney Perry (gtr); Joe Hill (bs); Keith Kilgo (dm); Perk Jacobs (perc); Larry Mizell (arr). Hollywood, 1974.
(Blue Note BN-LA 047 £2.75)
