Jazz-funk/rhythm and blues: “Mr. Thomas”

In A New Perspective (1964), Donald Byrd brings together Hank Mobley, Herbie Hancock, Kenny Burrell, a rhythm section and an eight-voice gospel choir (four male and four female) conducted by the versatile composer Coleridge Perkinson with masterful arrangements by pianist and songwriter Duke Person. The result is a historical recording in which hard bop is combined with gospel creating a new cohesive, dynamic, ecstatic and spiritual musical concept. This unusual work is a major accomplishment in Donald Byrd’s career. In particular, “Christ the Redeemer” was quite successful. I’m Tryin’ to Get Home (1965) is a continuation of the previous album with tenor saxophonist Stanley Turrentine, guitarist Grant Green, Hancock, a brass ensemble, Perkinson choir and Person arrangements, but the outcome wasn’t the same.

In the early 1960s Byrd had already studied composition in Paris with Nadia Boulanger, an important educator who trained many of the best composers of the twentieth century, and was mainly interested in the history of African-American music. But in the second half of the 1960s he focused much of his efforts on teaching and getting jazz history added to the university curriculum. During that time he taught at Howard University in Washington, D.C., New York University, Rutgers University in New Jersey, Oberlin College in Ohio, North Carolina Central University, Delaware State University, Hampton Institute in Virginia and the non-profit Jazzmobile organization that offers jazz shows and learning programs.

In 1967 Byrd issued Mustang! with tenor saxophonist Hank Mobley and renowned pianist McCoy Tyner, who had been a member of the classic quartet of the great John Coltrane, and it can be listened high-quality modern jazz in it. That same year he recorded The Creeper, which wasn’t released until 1981, with alto saxophonist Sonny Red, baritone saxophonist Pepper Adams and future jazz fusion musicians pianist Chick Corea and double bassist Miroslav Vitous.