DONALD BYRD Royal Flush BLUE NOTE 84101 DG “ear” Van Gelder STEREO New York USA

ARTIST: DONALD BYRD

TITLE: ROYAL FLUSH

LABEL: BLUE NOTE BST 84101

PRESSING: 1961 NEW YORK USA

COUNTRY: USA

CONDITION OF VINYL:  VG+, tiny crack at the edge, lead-in only. Very light background crackle audible between tracks. Some soft tics on A,2 (minor pressing flaws? Light surface scuffs.

CONDITION OF LABELS: Excellent, a few spindle marks. DEEP GROOVE both sides.

CONDITION OF COVER: VG+, clean and shiny laminated front with barely visible ring wear and a bit of small light creasing. Very light rubbing visible on back, which is only slightly yellowing. Corners are lightly bumped. Edges are very strong.

STEREO/MONO: STEREO

ANALOG/DIGITAL:  ANALOG

MATRIX NUMBERS (SIDE A/SIDE B): 

BNST-84101-A STEREO “ear” VAN GELDER / BNST-84101-B STEREO “ear” VAN GELDER

Weight of record (includes record cover, inner sleeve, outer sleeve): 320g

DESCRIPTION or information on this record

Includes original BLUE NOTE printed inner sleeve.

From allmusic.com:

Donald Byrd was at his peak as a straight-ahead hard bop band leader in the early '60s, turning 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, signalling early on in his career his deep, unique talent.

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