An Underappreciated Master. While Don Byas is lauded for his breathtaking solos – sumptuous and creamy on ballads, thoughtful and potent on uptempo numbers – his absence from the scene in the U.S. and a lack of recorded evidence might be reasons he is unfairly overlooked. Starting today, Mosaic Records presents that evidence. Don Byas — who claimed to be inspired by Art Tatum more than any horn player — always considered himself more of a swing musician than a bebopper, but that might be because harmonic and rhythmic innovation were such important components of his personal style that he may not even have realized what an innovator and inspiration he was.

Tenor saxophonists who followed him couldn’t help but take note of his highly inventive phrasing, with melodies that disregarded bar lines when he was still working on a thought; notes that squeezed in hurriedly to ornament the end of a line; and seductive shifts in register that were always unexpected surprises. If your ears and experience prepared you for something more typical, Byas gave you that and more.

Byas could also employ every tool available to a wind musician to bring expression and originality to a solo. On ballads, his attack, his breath control, and his scoops and bends could nearly disguise the change from one note to another, leaving the listener in a dreamy trance. In full bebop mode, his crisp articulation and exceptional mastery of chromatics resulted in endless cascades and awe-inspiring leaps.

Byas’ versions of well-known songs were a special pleasure to hear because he always brought something new to his renditions. He played a counter melody to trumpeter Joe Thomas’ version of “Pennies From Heaven” that is neither showy nor invisible, a sparkling example of his taste and sensitivity.

You’d be hard pressed to find a lovelier extended solo that Byas’ take on “Old Folks,” or a more dizzying torrent than his rendition of “Cherokee.” Hearing him play “I Got Rhythm” with only Slam Stewart to accompany him in Timme Rosenkrantz’s apartment, will reveal to you why the song is called that to begin with.

“Years ago the game was vicious, cut-throat. Can you imagine Lester Young, Coleman Hawkins, Chu Berry, Don Byas, and Ben Webster on the same little jam session? And guess who won the fight? That’s what it was – a saxophone duel. Don Byas walked off with everything.” – Sonny Stitt

*This set of Don Byas recordings from 1944 to 1946 are gathered from sessions either led by Byas or where there is a significant solo or obbligato by him in the role of a sideman. This historical set is divided into three sections: The Savoy and National sessions which are owned by the Concord Music Group; The Timme Rosenkrantz home discs; and miscellaneous 78 labels where no ownership has been determined. The collection includes 193 tunes, including 40 previously unissued anywhere.*