Royal Flush [RVG Edition] [Remaster]

Performer: Donald Byrd
Artist: Pepper Adams; Herbie Hancock; Billy Higgins
Producer: Alfred Lion; Alfred Lion; Michael Cuscuna (Reissue)
Distributor: EMI Music Distribution

Notes: Personnel: Donald Byrd (trumpet); Donald Byrd; Butch Warren (upright bass); Pepper Adams (baritone saxophone); Herbie Hancock (piano); Billy Higgins (drums). Audio Remasterer: Rudy Van Gelder. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (09/21/1961). Photographer: Francis Wolff. In the early 1960s, long before he'd pursue a funkier, electric direction, Donald Byrd was one of the leading trumpeters on the American jazz scene. Recorded in autumn 1961, ROYAL FLUSH is hard-swinging (with the baritone sax of Pepper Adams, how could it not be?) and deep-grooving hard bop. It does, however, point to aspects of jazz's future--note the poignant "Requiem," contributed by a young Herbie Hancock (this session's pianist) and the inventive drumming of Billy Higgins. In the early 1960s, long before he'd pursue a funkier, electric direction, Donald Byrd was one of the leading straight-ahead trumpeters on the American jazz scene. ROYAL FLUSH, recorded in autumn 1961, is bold, swinging (with the baritone sax of Pepper Adams, how could it not be?), and deep-grooving hard bop. Yet, it does at times point to aspects of jazz's future--note the poignant "Requiem," contributed by a young Herbie Hancock (this session's pianist) and the inventive drumming of Billy Higgins. Donald Byrd was at his peak as a straight-ahead hard bop band leader in the early '60s, turning in 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 baritonist 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. [This RVG edition features 24-bit remastering.] ~ Stephen Thomas Erlewine

Donald Byrd set the standard for hard-bop trumpet in his days as a regular on the Prestige and Blue Note labels. His brassy tone and adventurous solos, coupled with a deep sense of the blues, made him one of the most in-demand trumpeters of the 1950s and '60s. Later, Byrd turned to the R&B-influenced side of jazz, which sustained him through several successful years in the late '60s. By the 1970s, Byrd had fully embraced funk and R&B in the form of his popular group, the Blackbyrds. In the '90s, Byrd was introduced to a new crowd when he was a featured performer on rapper Guru's groundbreaking JAZZMATAZZ.

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