Donald Byrd, jazz trumpeter, NCCU professor

He helped establish jazz programs, led Blackbyrds band

The Washington PostFebruary 12, 2013 

Donald Byrd, one of the most prolific and dynamic jazz trumpeters of the 1950s, died Feb. 4 at 80 in a hospital in Delaware.

Byrd helped establish jazz program at N.C. Central University in Durham, where he was a part-time professor, during the mid 1970s and was well known to the community, said Rodney Marsh, owner of Marsh Woodwinds in Raleigh.

Byrd was known to play at the university’s homecomings with one of his bands, the Blackbyrds, an event that was remembered fondly on the school’s website.

A spokeswoman for Haley Funeral Directors in Southfield, Mich., confirmed the death. No cause was provided. Word about Byrd’s death began circulating on the Internet last week, but repeated calls to homes where he was known to have lived in New Jersey and Delaware were not returned.

Byrd emerged from the jazz cauldron of Detroit in the mid-1950s and quickly became one of the primary instrumental voices of the hard-bop movement, a swinging blues-based style of jazz built around driving rhythms and tight ensemble work.

With a distinctive tone that balanced crisp intonation with a clean melodic line, he was in constant demand for record dates, including sessions with John Coltrane, Sonny Rollins, Thelonious Monk, Jackie McLean and Max Roach. He appeared on 36 recordings in 1957 alone.

When Byrd’s debut album appeared in 1955, jazz writer Nat Hentoff praised him in DownBeat magazine as “one of the most important jazz trumpet talents in the past few years.”

After the 1950s, he achieved commercial success, if not always critical acclaim, by exploring the contours of soul and funk music.

Ever evolving as a musician and ever inquisitive as a person, Byrd studied composition in Europe with the acclaimed musical guru Nadia Boulanger in the early 1960s and began teaching at Howard University in 1968.

He led the university’s jazz band and developed a program of black music studies at Howard, where he taught until 1975.

As a performer, Byrd began to branch out from traditional acoustic jazz to explore a new, amplified style of music that drew heavily on the sounds of soul, funk and rhythm-and-blues. He recorded his first album in the new style, “Fancy Free,” in 1969, followed a year later by “Electric Byrd.”

In 1973, he released “Black Byrd,” which soared up the R&B charts and sold more than 1 million copies, at the time the most ever for an album on the Blue Note label. With its throbbing electric bass lines, vocal parts, heavy percussion and other effects, Byrd’s music found a new generation of fans, but many his older jazz listeners felt alienated.

He drew scathing reviews, including one from The Washington Post in 1975 that complained about “monotonous, over-amplified, disco-style noodling.”

“I’m creative. I’m not re-creative,” Byrd told the Detroit Free Press in 1999. “I don’t follow what everybody else does. One of the proverbs my father used to say is, ‘If you’re not first, be among the first.’ Everything I’ve done others have tried to copy.”

With five of his students at Howard, Byrd organized a jazz-funk group, the Blackbyrds, that had a series of Top 20 R&B hits in the 1970s, including “Walking in Rhythm,“ “Happy Music” and “Time is Movin’.”

In the 1980s and 1990s, Byrd experimented with rap music, and his compositions and trumpet solos were incorporated into songs by hip-hop artists Public Enemy, Nas, Guru and Erykah Badu.

Although hip-hop was different in tone and style from the jazz Byrd had performed in his youth, he considered it part of a long musical continuum.

“It reflects the tenor of the times, which African-American music has always done,” he told the Chicago Tribune in 1993. “It is a furtherance of what vocal music coming out of the jazz and African-American expression has always been, from Louis Armstrong to Cab Calloway to people like Dizzy Gillespie and Eddie Jefferson.”

Donaldson Toussaint L’Ouverture Byrd II was born Dec. 9, 1932, in Detroit, where his father was a Methodist minister.

The younger Byrd served as a musician in the Air Force in the 1950s and attended Detroit’s Wayne State University before moving to New York. In 1955 and 1956, he occupied the trumpet chair in the Jazz Messengers, the influential group led for many years by drummer Art Blakey.

Byrd made many albums as a leader on the Blue Note label, including several with a fellow Detroit native, baritone saxophonist Pepper Adams. In 1960, Byrd was the first major jazz performer to hire the young pianist Herbie Hancock, who went on to great acclaim with trumpeter Miles Davis and as a solo performer.

Byrd had at least four academic degrees, including a master’s degree from the Manhattan School of Music and, according to published reports, a law degree from Howard.

In addition to his work at NCCU in Durham, Byrd established jazz studies programs at Howard and taught at many other colleges, including Hampton University in Virginia, Rutgers University in New Jersey, Delaware State University and the University of Delaware. He lived in Dover, Del., for several years.

Byrd was named a Jazz Master in 2000 by the National Endowment for the Arts, the country’s highest honor for jazz musicians. He continued to perform sporadically into his late 70s and was regarded by generations of musicians as a jazz elder.

Staff writer Matthew Caulder contributed to this report.

News & Observer is pleased to provide this opportunity to share information, experiences and observations about what's in the news. Some of the comments may be reprinted elsewhere in the site or in the newspaper. We encourage lively, open debate on the issues of the day, and ask that you refrain from profanity, hate speech, personal comments and remarks that are off point. Thank you for taking the time to offer your thoughts.

Commenting FAQs | Terms of Service