At the Half Note Cafe is a live album by American trumpeter Donald Byrd recorded in 1960 at the Half Note in Manhattan and released on the Blue Note label originally as two single LP issues (BLP 4060 and BLP 4061). he Allmusic review by Thom Jurek awarded the album 4½ stars and stated "This was a hot quintet, one that not only swung hard, but possessed a deep lyricism and an astonishing sense of timing, and one need only this set by them to feel the full measure of their worth".
This 2004 remastered Rudy Van Gelder edition of Donald Byrd's At the Half Note Cafe (the original double-disc version was only issued for the first time in 2000) appears to add one extra track – "Theme (Pure D. Funk)," which clocks in at 1:51 and is also on the second volume in its full form, and a slightly shorter version of "Cecille." Here it clocks it at 12:52; on the 2000 issue it was 14:46. The sequence has also been altered slightly. The real deal is that, while this is the live date showcasing the Byrd quintet with Pepper Adams (and with Duke Pearson, Lex Humphries, and Laymon Jackson in the rhythm section), there is little here to make this worth purchasing yet again if you have the previous set.
Reuniting with Larry Mizell, the man behind his last three LPs, Donald Byrd continues to explore contemporary soul, funk, and R&B with Places and Spaces. In fact, the record sounds more urban than its predecessor, which often played like a Hollywood version of the inner city. Keeping the Isaac Hayes, Curtis Mayfield, and Sly Stone influences of Street Lady, Places and Spaces adds elements of Marvin Gaye, Earth, Wind & Fire, and Stevie Wonder, which immediately makes the album funkier and more soulful. Boasting sweeping string arrangements, sultry rhythm guitars, rubbery bass, murmuring flügelhorns, and punchy horn charts, the music falls halfway between the cinematic neo-funk of Street Lady and the proto-disco soul of Earth, Wind & Fire. Also, the title Places and Spaces does mean something – there are more open spaces within the music, which automatically makes it funkier. Of course, it also means that there isn't much of interest on Places and Spaces for jazz purists, but the album would appeal to most fans of Philly soul, lite funk, and proto-disco.
This unusual set was one of the most successful uses of a gospel choir in a jazz context. Trumpeter Donald Byrd and a septet that includes tenor saxophonist Hank Mobley, guitarist Kenny Burrell, and pianist Herbie Hancock are joined by an eight-voice choir directed by Coleridge Perkinson. The arrangements by Duke Pearson are masterful and one song, "Cristo Redentor," became a bit of a hit. This is a memorable effort that is innovative in its own way, a milestone in Donald Byrd's career.
Jazz trumpeter Donald Byrd’s critically acclaimed career and life have assured the Detroit native his rightful place as one of the most respected musicians of the 20th century. Having successfully transitioned to Jazz Fusion in the 1970s under the guidance of the Mizell brothers, creating four albums on Blue Note records including the highly influential Places and Spaces, Byrd continued to explore the fertile possibilities of Fusion with four more albums recorded for Elektra Records between 1978 and 1982.
Donaldson Toussaint L'Ouverture "Donald" Byrd II (December 9, 1932 – February 4, 2013) was an American jazz and rhythm & blues trumpeter. A sideman for many other jazz musicians of his generation, Byrd was best known as one of the only bebop jazz musicians who successfully pioneered the funk and soul genres while simultaneously remaining a jazz artist.
A definite soul based session for Donald Byrd – and that's saying a lot here, because his previous decade's worth of work had all had some sort of R&B focus. The main force behind the set here is Isaac Hayes – who's producing, arranging, and playing most of the keyboards on the album. Oddly, Ike's not singing at all – and vocals are instead handled by Rose Williams, Diane Davis, Pat Lewis, and Myra Walker – plus the Hot Buttered Soul group on backing vocals.