LP | Donald Byrd: Royal Flush Herbie Hancock BLUE NOTE | Jazz Vinyl
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28
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31
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Description
LP | Donald Byrd: Royal Flush Herbie Hancock BLUE NOTE | Jazz Vinyl
Ich löse einen Teil meiner privaten Jazz-Sammlung auf, darunter einige Blue Note's, Impulse, Verve, meistenteils Bop, Hard Bop, Post Bop und Free Jazz Vinyls. Dazu eine Shirley Scott, eine Donald Byrd und eine Stan Getz Sammlung.
BLUE NOTE BLP-4101/BST-84101 LP Vinyl
Donald Byrd: Royal Flush
LP: ex/vg++
Cover: vg++ [still in shrink wrap, small cut off, otherwise ex]
First release of Herbie Hancock ever!
Allmusic.com says:
Donald Byrd was at his peak as a straight-ahead hard bop band leader in the early '60s, turning a series of remarkably solid, enjoyable sessions for Blue Note. Royal Flush is no exception to the rule. Recorded in the fall of 1961, Royal Flush finds Byrd once again working with baritionist Pepper Adams, but adding bassist Butch Warren, drummer Billy Higgins, and, most importantly, a young pianist named Herbie Hancock. For the most part, the quintet plays a set of vital hard bop, swinging hard on the bluesy groove "Hush" and laying back on the pop standard "I'm a Fool to Want You." But what's really interesting is when they begin pushing the boundaries of bop. All three of Byrd's original pieces -- "Jorgie's," "Shangri-La," "6M's" -- are harmonically complex and have subtly shifting rhythms; all three are successful, but "Shangri-La" is particularly noteworthy. Similarly, Hancock's graceful "Requiem" calls attention to its fluid melodic lines and rhythm. Throughout the date, Byrd and Adams are typically impressive, alternating between punchy, hard-hitting, and graceful solos, but Hancock is just as good, signaling early on in his career his deep, unique talent.
And:
While at first blush, Donald Byrd's "Royal Flush" might seem like just another mainstream Hard Bop album from one of the most prolific workhorse recording artists of the era, closer listening displays music that while, yes, still firmly grounded in Hard Bop conventions, is ever so slightly being shaded by influences of the avant-garde, modal and post-bop movements. Adding a young, forward-thinking Herbie Hancock to the line-up seems to have brought some new ideas to the table and spurred something in Byrd, something that would be even more fully realized on his later "Free Form" album and beyond, but which definitely has its beginnings here on this album. "Jorgie's", with its pulsing bass line that repeatedly builds and releases tension, Byrd's delicate solos contrasted by Adams' more primal ones, and Hancocks elegant modal chording, is a highlight, as is "Shangri-La", with Higgins' and Hancock's complex, shifting rhythms and Byrd's, Adams' and Hancock's loose, urgent solos all helping to further tug at the edges of Hard Bop towards something more modern. Also of note are the ballad "I'm a fool to want you", on which Byrd's trumpet, clear but plaintive, sounds quite possibly the best it ever has, as well as the album's closer and sole Hancock composition, the less mournful than its name would indicate "Requiem", which has one of the albums best grooves.
Shipping fee Germany: EURO 6
Shipping fee EU: EURO 9
Shipping fee worldwide: EURO 16
Keine Garantie oder Rücknahme nach EU-Recht, da Privatverkauf.
Deutschland und EU: Überweisung. Außerhalb EU: Paypal zzgl. Gebühren.
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