Donald Byrd & Doug Watkins - The Transition Sessions

[Gentle Giant]

I just got this 2-CD set (part of Blue Note's Connoisseur Series of reissues) from my local library and not only is it a fine old bluesy hunk of music, but I also learned an awful lot about the Boston jazz scene in the 1950s.

Some background: Tom Wilson (whom I knew mainly as the producer of Dylan's Like a Rolling Stone), a 1952 political science/economics graduate of Harvard, started Transition Records in Boston in the mid-1950s. His early releases included albums by Herb Pomeroy, Donald Byrd, Sun Ra, and Cecil Taylor. In 1958, he sold a number of albums to Blue Note; none were ever issued by the label; three of them are collected in this set.

Donald Byrd and bassist Doug Watkins were schoolmates in Detroit who came to New York in 1954. Watkins became part of the original Jazz Messengers, along with Kenny Dorham, Hank Mobley, and Art Blakey. In late 1955, Dorham left the group. Byrd was the replacement, and within days the group landed in Boston. While there, Byrd cut a session as leader for Transition, called Byrd's Eye View. Joining the Messengers on the date was a local trumpeter named Joe Gordon. In May 1956, Byrd was back in Boston to cut Byrd Blows on Beacon Hill for Transition, recorded in engineer Steve Fassett's home. In addition to Watkins, this album featured local pianist Ray Santisi and local drummer Jim Zitano. Later that year, Watkins recorded his own album for Transition, Watkins At Large, with Mobley, Kenny Burrell, Art Taylor, and pianist Duke Jordan. These three albums make up The Transition Sessions.

Disc 1 opens with the five tracks from Byrd's Eye View. The opener, Doug’s Blues is so named because Watkins starts it off with a walking line notable for the occasional skip. Joe Gordon takes the first solo spot at the same easy tempo, but then Hank comes in and with insistent urgings from Silver, Watkins, and Blakey, he picks up the pace and swings. Then Byrd swoops in and gives a commanding solo. The tempo slows momentarily, then Watkins adds a jaunty step to his walking line and Silver sprays some gold before the head returns.

El Sino opens with powerful unison lead from Byrd and Gordon (Hank sits out), then they trade solos. Gordon holds his own alongside the better known trumpeter. Gordon has a softer, deeper tone (in fact, here he seems to be standing farther from a mike) and operates in a comfortable range, while Byrd is typically bright and searching. They trade bars with precision and ease, laying out near the end for Silver and finally a very short Blakey solo.

Crazy Rhythm is a hot little showcase number. Again, it’s the trumpet twosome leading things off together. Gordon shows he can spew quick staccato notes with ease, and Byrd follows him in like form. This goes back and forth while the rhythm section chugs along insistently.

On Everything Happens to Me, Byrd opens this lovely ballad with some gentle, emotional playing. His solo encompasses most of the song; at times Art’s brushes try to stir things up. But Byrd doesn’t bite, keeping to the theme. Hank takes over about 3/4 of the way through, and Art tries again to add a little shuffle to his rhythm. You can hear Hank start to dance a little, but his solo soon ends and Byrd takes it slow to the end.

Hank’s Tune swings like mad. The full front line is back and this thing kicks from the get-go. Byrd soars in the first solo, then Hank takes over. Like Gordon, he’s content to stay within a given range, but what he’s saying speaks louder than how he’s saying it. Art does some rapid fire soloing in between statements from Byrd and Hank.

The next 4 tracks are from Byrd Blows on Beacon Hill. On Little Rock Getaway, the quartet maintains the predominant blues theme from Byrd's Eye View. Ray Santisi on piano and Jim Zitano on drums are more than capable of laying down the foundation with Watkins’ walking lines. Byrd doesn’t have to share the stage with other horns and he takes his time laying out his solos. Quick takes on the next three tunes, all standards: Polka Dots and Moonbeams– lovely; If I Love Again – sprightly, Santisi and Zitano get a chance to step out as well; Stella By Starlight – a short take on this chestnut.

Disc 2 starts with Watkins at Large (five numbers). The opener, Return to Paradise, is nearly 13 minutes in length. Following a short interlude by Byrd, Hank takes over but for some reason, he never seems to get started. He’s there, but there’s not a lot of energy. Byrd comes back to breathe some life into it. He succeeds. Then Burrell comes in and goes to town. His solo both swings and challenges; you’re nodding your head to the music, then shaking your head at what he’s doing. Duke Jordan picks up the spirit on piano but with a lighter touch. Finally, at 10 minutes, Watkins gets a solo, his first on the set. He’s not recorded all that well, so you have to really concentrate to hear what he’s doing. He turns in a nice, melodic solo gently broken by Byrd.

Phinupi is composed by Burrell. This very fast tune has Byrd and Hank butting heads in the head, with some nice accents by Taylor pushing the rhythm forward. Byrd and Hank take some solos, Hank having woken up, apparently. Halfway through, I’m wondering where’s Burrell on his own tune? Then he comes in and blasts through a blistering solo. Jordan, backed by a frantic Watkins and steady Taylor, lays down a nice solo of his own, showing more than a trace of barrelhouse. Watkins and Taylor get their own spotlights before the theme returns.

Thad Jones’ More of the Same is given a 10-minute reading. Burrell is masterful in his solo, showing both speed and articulation in what is his funkiest solo on the set.

Hank and Kenny lay out for Duke Jordan’s Panonica (not to be confused with Monk's correctly spelled Pannonica), which has Byrd relaying Jones’ tribute to one of the patron saints of jazzers.

The disc ends with two Byrdless numbers from Byrd Blows on Beacon Hill: the uptempo People Will Say We’re In Love, where Santisi takes over; and What’s New, a very gentle piece where Watkins takes the spotlight.

Sorry for the long review but this was quite an educational experience for me. I have to say, when all is said and done, that this release overall is very good, not great. Some numbers are wonderful, but others are just all right. The blues focus is nice but over two longs CDs, I hunger for a little more variety. I guess I prefer the material on Disc 2 with Burrell better for that reason. Also, Mobley's playing throughout does not compare at all with the best of his work. But hey, maybe you'll be lucky like me and find it in your local public library.

[Clay Fink]

Thanks GG. I'll have to pick this one up.

[Gentle Giant]

Finally, after 60 views someone decided to say something!

Like I said, it's very good, not great, but an interesting and little-known slice of east-coast jazz history.