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▄▓█████████▓▓█▀ ▀▀▀▓██▓▌
░ ▓█████████▓▓█▀ [ J U S T F U N . P R E S E N T S ] ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
░ ▓████▓▌ ░ Artist.......: Donald Byrd ▐▓▀▀
▓ ▐█████▓█ Album........: At The Half Note CafΘ (vol. 1 & 2) ▀ ░
▀█▄▓████▓▓▄█▀ Genre........: Jazz ░▓ ▌
▄▀██▓██▓▓▀ Language.....: English ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: Blue Note ░▓░ █▓▌
▐█▓▓ ▀▓ Catnr........: n/a ░▓▓▓ ▐█▓▓
▓█▓▌ URL..........: n/a ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
░ ▀▀▓█▄▐▓ ░▓▓▓░ ░▓▓▓░ ░ ▀▓██████▓██▓▓▀ ░
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░▓▓░ ▐█▓▓ ░ ░▓▓░ source......: CDDA ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ playtime....: 121:58 min ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ rip.date....: Apr-02-2004 ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ str.date....: Mar-30-2004 ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ ripper......: JusT TeaM ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ grabber.....: EAC v.0.95 prebeta 4 ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ encoder.....: LAME v.3.90.3 Modified ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ size........: 180,6 MB ░▒░ ░▓░ ░
▐█▓▀ ░░ ▀█▓▌░ quality.....: VBR/44,1Hz/Joint-Stereo ░ ▒
█▀ ░▓▓▓▓░ ▀▓ ░ ░ ░
▀░ ▓▄▄▓▓▓▓▄▄█▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄█▓█▄▄▄
░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ cd1 ▓▌
▓████▓▌ ▓▌
▓████▓▌ 01. Introduction By Ruth Mason Lion 01:22 ▓▌
▓████▓▌ 02. My Girl Shirl 10:32 ▓▌
▓████▓▌ 03. Soulful Kiddy 10:07 ▓▌
▓████▓▌ 04. A Portrait Of Jennie 06:49 ▓▌
▓████▓▌ 05. Cecile 12:53 ▓▌
▓████▓▌ 06. Theme: Pure D. Funk 01:54 ▓▌
▓████▓▌ 07. Child's Play 08:43 ▓▌
▓████▓▌ 08. Chant 11:04 ▓▌
▓████▓▌ ▓▌
▓████▓▌ cd2 ▓▌
▓████▓▌ ▓▌
▓████▓▌ 01. Jeannine 13:09 ▓▌
▓████▓▌ 02. Pure D Funk 06:16 ▓▌
▓████▓▌ 03. Kimyas 11:58 ▓▌
▓████▓▌ 04. When Sunny Gets Blue 06:23 ▓▌
▓████▓▌ 05. Between The Devil And The Deep Blue Sea 09:57 ▓▌
▓████▓▌ 06. Theme From Mr Lucky 10:51 ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ Theme: Pure D. FunkDonald Byrd was considered one ▓▌
▓████▓▌ of the finest hard bop trumpeters of the ▓▌
▓████▓▌ post-Clifford Brown era. He recorded prolifically ▓▌
▓████▓▌ as both a leader and sideman from the mid-'50s into ▓▌
▓████▓▌ the mid-'60s, most often for Blue Note, where he ▓▌
▓████▓▌ established a reputation as a solid stylist with a ▓▌
▓████▓▌ clean tone, clear articulation, and a knack for ▓▌
▓████▓▌ melodicism. Toward the end of the '60s, Byrd became ▓▌
▓████▓▌ fascinated with Miles Davis' move into fusion, and ▓▌
▓████▓▌ started recording his own forays into the field. In ▓▌
▓████▓▌ the early '70s, with the help of brothers Larry and ▓▌
▓████▓▌ Fonce Mizell, Byrd perfected a bright, breezy, ▓▌
▓████▓▌ commercially potent take on fusion that was ▓▌
▓████▓▌ distinct from Davis, incorporating tighter ▓▌
▓████▓▌ arrangements and more of a smooth soul influence. ▓▌
▓████▓▌ Opinions on this phase of Byrd's career diverge ▓▌
▓████▓▌ wildly -- jazz purists utterly despised it, ▓▌
▓████▓▌ branding Byrd a sellout and the records a betrayal ▓▌
▓████▓▌ of talent, but enraptured jazz-funk fans regard it ▓▌
▓████▓▌ as some of the most innovative, enduring work of ▓▌
▓████▓▌ its kind. In fact, proportionately speaking, Byrd ▓▌
▓████▓▌ is held in even higher esteem by that audience than ▓▌
▓████▓▌ by straight-ahead jazz fans who enjoy his hard bop ▓▌
▓████▓▌ output. Donaldson Toussaint L'Ouverture Byrd II was ▓▌
▓████▓▌ born in Detroit, MI, on December 9, 1932. His ▓▌
▓████▓▌ father, a Methodist minister, was an amateur ▓▌
▓████▓▌ musician, and Byrd was already an accomplished ▓▌
▓████▓▌ trumpeter by the time he finished high school, ▓▌
▓████▓▌ having performed with Lionel Hampton. Byrd served a ▓▌
▓████▓▌ stint in the Air Force, during which time he played ▓▌
▓████▓▌ in a military band, and subsequently completed his ▓▌
▓████▓▌ bachelor's degree in music at Wayne State ▓▌
▓████▓▌ University in 1954. He moved to New York in 1955 to ▓▌
▓████▓▌ get his master's at the Manhattan School of Music, ▓▌
▓████▓▌ and soon began performing with pianist George ▓▌
▓████▓▌ Wallington's group. In December of that year, he ▓▌
▓████▓▌ was invited to join Art Blakey's Jazz Messengers, ▓▌
▓████▓▌ filling a chair once held by his idol, Clifford ▓▌
▓████▓▌ Brown, and Kenny Dorham. Byrd also began his ▓▌
▓████▓▌ recording career during this period, leading ▓▌
▓████▓▌ several sessions (mostly for Savoy) and working ▓▌
▓████▓▌ often as a sideman, particularly at the Prestige ▓▌
▓████▓▌ label. He left the Jazz Messengers in 1956 and ▓▌
▓████▓▌ joined up with Max Roach; he went on to play with ▓▌
▓████▓▌ the likes of John Coltrane, Sonny Rollins, and Red ▓▌
▓████▓▌ Garland, and also co-founded the Jazz Lab Quintet ▓▌
▓████▓▌ with altoist Gigi Gryce in 1957. In 1958, Byrd ▓▌
▓████▓▌ signed an exclusive recording contract with Blue ▓▌
▓████▓▌ Note, and also formed a band with baritonist Pepper ▓▌
▓████▓▌ Adams, who would remain Byrd's regular partner ▓▌
▓████▓▌ until 1961. Byrd's Blue Note debut was 1958's Off ▓▌
▓████▓▌ to the Races, and he and Adams collaborated on a ▓▌
▓████▓▌ series of excellent hard bop dates over the next ▓▌
▓████▓▌ three years, including Byrd in Hand (1959), At the ▓▌
▓████▓▌ Half Note Cafe, Vols. 1-2 (1960), The Cat Walk ▓▌
▓████▓▌ (1961), and Royal Flush (also 1961), among others. ▓▌
▓████▓▌ Another 1961 recording, Free Form, found Byrd ▓▌
▓████▓▌ giving a young Herbie Hancock some of his earliest ▓▌
▓████▓▌ exposure. Following this burst of activity, Byrd ▓▌
▓████▓▌ took a sabbatical to continue his studies in ▓▌
▓████▓▌ Europe, where he spent some time under the tutelage ▓▌
▓████▓▌ of the legendary French music educator Nadia ▓▌
▓████▓▌ Boulanger. He returned to the U.S. in 1963 and ▓▌
▓████▓▌ recorded A New Perspective, a now-classic set that ▓▌
▓████▓▌ broke new ground by incorporating gospel choirs ▓▌
▓████▓▌ into its arrangements; its signature piece, "Cristo ▓▌
▓████▓▌ Redentor," became quite popular. In the mid-'60s, ▓▌
▓████▓▌ Byrd focused more of his energies on teaching, and ▓▌
▓████▓▌ worked diligently to make jazz and its history a ▓▌
▓████▓▌ legitimate part of the college curriculum. He ▓▌
▓████▓▌ taught at Rutgers, Hampton, New York University, ▓▌
▓████▓▌ and Howard in the late '60s, and the last one ▓▌
▓████▓▌ remained a steady association for much of the '70s. ▓▌
▓████▓▌ In the meantime, Byrd continued to record ▓▌
▓████▓▌ occasionally, cutting a final spate of hard bop ▓▌
▓████▓▌ albums over 1966-1967 that included Mustang! and ▓▌
▓████▓▌ Blackjack. Byrd also began to study African music, ▓▌
▓████▓▌ inspired partly by the emerging black-consciousness ▓▌
▓████▓▌ movement, and became interested in Miles Davis' ▓▌
▓████▓▌ efforts to woo a younger audience (including Byrd's ▓▌
▓████▓▌ own students) by experimenting with electronics and ▓▌
▓████▓▌ funk rhythms. 1969's Fancy Free found Byrd using ▓▌
▓████▓▌ electric piano for the first time, with a spacy ▓▌
▓████▓▌ sound that recalled Davis' In a Silent Way. 1970's ▓▌
▓████▓▌ Electric Byrd had more of a Bitches Brew flavor, ▓▌
▓████▓▌ and the jams on 1971's Ethiopian Knights were ▓▌
▓████▓▌ longer, funkier, and more aggressive. Byrd truly ▓▌
▓████▓▌ came into his own as a fusion artist when he hooked ▓▌
▓████▓▌ up with brothers Larry and Fonce Mizell, who began ▓▌
▓████▓▌ to handle production, writing, and some musical ▓▌
▓████▓▌ support duties. Their first collaboration was ▓▌
▓████▓▌ 1972's Black Byrd, an upbeat, funky blend of jazz ▓▌
▓████▓▌ and R&B. Jazz critics detested the album and called ▓▌
▓████▓▌ Byrd all sorts of names, but the record was a smash ▓▌
▓████▓▌ hit; it became the biggest seller in Blue Note ▓▌
▓████▓▌ history, and just missed hitting number one on the ▓▌
▓████▓▌ R&B albums chart. In the wake of its success, Byrd ▓▌
▓████▓▌ formed a supporting group, the Blackbyrds, who were ▓▌
▓████▓▌ culled from the cream of his music students at ▓▌
▓████▓▌ Howard University and recorded through the rest of ▓▌
▓████▓▌ the '70s. Byrd went on to release a string of ▓▌
▓████▓▌ successful LPs in partnership with the Mizell ▓▌
▓████▓▌ Brothers, including the imaginary blaxploitation ▓▌
▓████▓▌ soundtrack Street Lady (1974), Stepping into ▓▌
▓████▓▌ Tomorrow (1975), the much-lauded Places and Spaces ▓▌
▓████▓▌ (1976), and Caricatures (1977). All made the Top ▓▌
▓████▓▌ Ten on the R&B album charts, and the Places and ▓▌
▓████▓▌ Spaces single "Change (Makes You Wanna Hustle)" ▓▌
▓████▓▌ even got substantial play in discotheques. ▓▌
▓████▓▌ Jazz-funk fans revere this period in general, but ▓▌
▓████▓▌ usually reserve their highest praise for Street ▓▌
▓████▓▌ Lady and, especially, Places and Spaces. As a side ▓▌
▓████▓▌ note to his musical career, Byrd finished law ▓▌
▓████▓▌ school in 1976, and went on to teach at North ▓▌
▓████▓▌ Carolina Central University. Following Caricatures, ▓▌
▓████▓▌ Byrd parted ways with Blue Note and the Mizell ▓▌
▓████▓▌ Brothers and moved to Elektra. He recorded several ▓▌
▓████▓▌ albums over 1978-1983, but even the most ▓▌
▓████▓▌ commercially successful, 1978's Thank You...for ▓▌
▓████▓▌ F.U.M.L. (Funking up My Life), didn't match the ▓▌
▓████▓▌ infectiousness of his Blue Note jazz-funk outings. ▓▌
▓████▓▌ In 1982, Byrd received his Ph.D. from Columbia ▓▌
▓████▓▌ Teachers College. He spent a few years in the ▓▌
▓████▓▌ mid-'80s away from recording, due in part to ill ▓▌
▓████▓▌ health, but continued to teach, moving on to North ▓▌
▓████▓▌ Texas State and Delaware State. In the late '80s ▓▌
▓████▓▌ and early '90s, Byrd returned to the hard bop of ▓▌
▓████▓▌ his early days on several sessions for the Landmark ▓▌
▓████▓▌ label. He participated in rapper Guru's Jazzmatazz ▓▌
▓████▓▌ project in 1993, and with the advent of the ▓▌
▓████▓▌ jazz-rap movement and England's acid jazz revival, ▓▌
▓████▓▌ his '70s albums became hugely popular sources for ▓▌
▓████▓▌ samples. In the meantime, Byrd continued his ▓▌
▓████▓▌ activities as a jazz educator. ▓▌
▓████▓▌ ▓▌
░ ▓████▓▌ ▓▌
▓ ▐█████▓█ [ A B O U T . U S ] ▓▌
▀█▄▓████▓▓▄█▀ ▓▌
▀██▓██▓▓▀ Our group consists of many rippers who are music enthu- ▓▌
▀█▓▓▓▀ siasts. Justfun is releasing different kind of music like ▓▌
▀▓ indie rock, trip-hop, ethnic, jazz, french, brazilian ▓▌
░ electro and many more ... We will bring you the music ▓▌
░ we like and share it with the rest of the under- ▄ ▓▌
░ ground scene. If you have, like us, a passion for ▄▄█▌ ▓▌
░ music, don't hesitate to contact us ! ▄████▓▌ ▓▌
░ █████▀▀▀▀ ▓▌
░ GREETinGs : NuHS . Hit2000 . DGN . KSi . SEQ . CHR ░███ ▓▌
░ Om . rH . Fuffens . Remix . FMF . SB ██▌ ▓▌
Kw . LOGOS . iTs . i . ATM . aAF . ... ▓██ ▓▌
░ and all ppl who share music with us ! ▄▄▄██▌ ▓▌
▐▓ ▐░▓▓▓▓▌ ░ ░▌
▀■░▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▐▓░░░▓▌▄▄█▓█▄▄■▀
▄█▒████████▓▓▀ ▀▀▀▀▀ ▀▓██▓███▓▄
▄▓██▓██████▓▓█▀ [ C O N T A C T ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ We're currently looking for : ██▓▓█▀▀
▓████▓▌ ░ - music enthusiast ppl buying cds on a regular basis. ▐▓▀▀
▓████▓▌ - ppl who can get promos or advanced rls. ▀ ░▌
░ ▓████▓▌ - Siteop who can provide at least 10mbits and ▓▌
▓ ▐█████▓█ 50gb++ for our archive. ▄ ▓▌
▀█▄▓████▓▓▄█▀ - People with skill and experience ▄▄█▌ ▓▌
▀██▓██▓▓▀ ... and everyone who wants to help in a ▄████▓▌ ▓▌
▀█▓▓▓▀ pleasant atmosphere our Just family. █████▀▀▀▀ ▓▌
▀▓ ░███ ▓▌
░ Share your forces with us ! ██▌ ▓▌
▌ ▓██ ▌ ▓▌
░ ▐▓ Email : jfun@hushmail.com ▄▄▄██▌ ▐▓ ▓▌
▐▓ █▓▌ ▐░▓▓▓▓▌ █▓▌ ░▌
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