Jaki Byard

Byard worked between 1922 and 1999 across pianist, composer, music educator, jazz musician and university teacher and 2 further recorded occupations. The registers place that work in jazz, hard bop and free jazz. This article rests on 70 catalogued compositions, 61 issued recordings, 2 digitised documents and 16 scholarly references drawn from named institutional registers. Every statement below returns to a source shown in the evidence panel; where the record is silent or divided, the article says so instead of resolving it.

• Name — Jaki Byard • Birth Name — John Arthur Byard • Born — 15 June 1922 • Birthplace — Worcester, Massachusetts, U.S. • Died — 11 February 1999 • Place of death — New York City, New York • Instrument — * Piano • tenor saxophone • alto saxophone • various others • Genre — Jazz • Occupation — Musician, composer, arranger • Years Active — 1930s–1999 • Label — * Candid • Futura • MPS • Muse • Prestige • Soul Note • Associated Acts — * Eric Dolphy • Booker Ervin • Roland Kirk • Charles Mingus

Byard was born in Worcester, Massachusetts, on June 15, 1922. At that time, his parents – John Sr and Geraldine Garr – were living at 47 Clayton Street. Both of his parents played musical instruments; his mother played the piano, as did his uncles and grandmother, the last playing in cinemas during the silent film era. He began piano lessons at the age of six, but they ended when his family was affected by the Great Depression. He was also given a trumpet that belonged to his father, and attempted to copy the popular players of the time, Roy Eldridge and Walter Fuller. As a boy he often walked to Lake Quinsigamond to listen to bands performing there. He heard Benny Goodman, Lucky Millinder, Fats Waller, and Chick Webb, and listened to other bands of the era on the radio. "Those were the things that inspired me – I guess it stuck with me", he commented decades later. Byard began playing professionally on piano at the age of 16, in bands led by Doc Kentross and Freddy Bates. His early lessons had involved mostly playing by rote, so his development of knowledge of theory and further piano technique occurred from the late 1930s until 1941, including studying harmony at Commerce High School. In that year, he was drafted into the army, where he continued with piano lessons and was influenced by pianist Ernie Washington, with whom he was barracked, although Byard also took up trombone at this time. He also studied Stravinsky and Chopin, and continued studying classical composers into the 1960s. Part of his military service was in Florida, where he was a mentor to the young saxophonist Cannonball Adderley and his brother, Nat. After leaving the army in 1946, Byard's musical education continued, through discussions with others, and using library materials combined with music school syllabuses.

Byard played with bands from the Boston area, including for two years with violinist Ray Perry, who encouraged Byard to add tenor saxophone to his array of instruments. He then joined Earl Bostic's band as pianist in 1947 and they toured for around a year. Byard then formed a bebop band with Joe Gordon and Sam Rivers in Boston, before touring for a year with a stage show band. Back once more in Boston, he had a regular job for three years with Charlie Mariano in a club in nearby Lynn. They recorded together in 1953. Byard was a member of Herb Pomeroy's band as a tenor saxophonist from 1952 to 1955, and recorded with him in 1957. Byard also played solo piano in Boston in the early to mid-1950s and freelanced in that area later in the same decade. He joined Maynard Ferguson in 1959, and stayed until 1962. As one of Ferguson's players and arrangers, Byard found that his own preference for experimentation in time signatures, harmony and freer improvisation was restricted by the preferences of other band members. Byard moved to New York City in the early 1960s. His first recording as a leader, the solo piano Blues for Smoke, was recorded there on December 16, 1960 (but not released in the United States until 1988). Also in 1960, Byard first played with the bassist Charles Mingus. He recorded extensively with Mingus in the period 1962–64 (including on the important albums released by Impulse! Records – Mingus Mingus Mingus Mingus Mingus and The Black Saint and the Sinner Lady), and toured Europe with him in 1964. Byard also made recordings as a sideman between 1960 and 1966 with Eric Dolphy, Booker Ervin, Roland Kirk, and Rivers. His performance on Dolphy's Outward Bound put Byard at the forefront of modern jazz. As a leader, Byard recorded a string of albums for the Prestige label during the 1960s. Some of these albums included Richard Davis on bass and Alan Dawson on drums, a trio combination described by critic Gary Giddins as "the most commanding rhythm section of the '60s, excepting the Hancock-Carter-Williams trio in Miles Davis's band", although it existed only for recordings. One such album was Jaki Byard with Strings!, a sextet recording that featured Byard's composing and arranging: on "Cat's Cradle Conference Rag", each of five musicians "play five standards based on similar harmonies simultaneously". A further example of Byard's sometimes unusual approach to composition is the title track from Out Front!, which he created by thinking of fellow pianist Herbie Nichols' touch at the keyboard. Popularity with jazz critics did not translate into wider success: a Washington Post review of his final Prestige album, Solo Piano from 1969, remarked that it was by "a man who has been largely ignored outside the inner circles". Giddins also commented in the 1970s on the lack of attention that Byard had received, and stated that the pianist's recordings from 1960 to 1972 "are dazzling in scope, and for his ability to make the most of limited situations". Following his time with Prestige, Byard had more solo performances, in part because of his affection for musical partners he had become close to but who had then died. Byard also continued to play and record with other leaders. While in Europe in 1965, he joined Art Blakey's band for a series of concerts there. In 1967 Byard played in a small group with drummer Elvin Jones. Between 1966 and 1969 Byard recorded three albums with the saxophonist Eric Kloss, then, in 1970, returned to Mingus' band, including for performances in Europe. Byard occasionally substituted on piano in Duke Ellington's orchestra in 1974 when the leader was unwell. In 1974–75 Byard had a residency at Bradley's in New York. He also fronted a big band, the Apollo Stompers, which was formed in the late 1970s. There were two versions of the band: one made up of musicians in New York, and the other using students from the New England Conservatory of Music, where Byard had taught from 1969. In 1980 Byard was the subject of a short documentary film, Anything for Jazz, which featured him playing, teaching and with his family. By the 1980s his main instrument remained the piano, and he still played both alto and tenor saxophones, but he had stopped playing the other instruments that he used to use professionally – bass, drums, guitar, trombone, and trumpet, although he still taught all of them. In the same period, he was often heard in New York playing solo, in duos, or in trios. In 1988 he played with a band founded by Mingus' widow, Sue Mingus, to perform the bassist's compositions – the Mingus Big Band. Byard played and recorded with a former student of his, Ricky Ford, from 1989 to 1991, and continued to play and teach during the 1990s.

A charter faculty member of the New England Conservatory of Music jazz studies program, initially named 'Afro-American Music', Byard stayed for more than 15 years. He also taught at the Hartt School of Music from 1975, the Manhattan School of Music from 1989 to 1999, the New School for Jazz and Contemporary Music, and lectured for three years at Harvard University. As teacher and player, Byard was renowned for his knowledge of the history of jazz piano. This meant that some aspiring young musicians sought him out as a teacher. One of these was pianist Jason Moran, who described their first meeting, at a performance by the Apollo Stompers: Jaki had all these toys and whistles and bells and things that he was playing from the piano, and also screaming and yelling from the piano in joy. I remember thinking, 'This guy's out of his mind.' After the set, I went up to him, introduced myself, and said that I would be studying with him. He said something to the effect of, 'get ready'. Moran studied with Byard for four years, and credits the older man with developing his skills, building his awareness of jazz history, and creating his willingness to experiment with different styles. Another student, Fred Hersch, reported that Byard was both organized and chaotic as a teacher: giving his students worksheets and having them study early stride piano, but also behaving eccentrically and missing lessons. Classical composer Bruce Wolosoff was taught by Byard at the New England Conservatory and counts him as an important influence. Pianist and singer-songwriter Grayson Hugh studied with Byard in the early 1970s and reported that, "more than anyone, Jaki Byard exploded my young harmonic mind". Jazz flautist Jamie Baum also studied with Byard, and after his death organized a tribute band consisting mainly of his students: Baum, Adam Kolker, Jerome Harris, George Schuller and Ugonna Okegwo, called Yard Byard or The Jaki Byard Project, using compositions Byard had left with Baum but never performed.

Byard died in his home in Hollis, Queens, New York City, of a gunshot wound on February 11, 1999. He was shot once in the head. The police reported that Byard's family, with whom he shared the house, last saw him at 6 pm, that he was killed around 10 pm, that there "were no signs of robbery, forced entry or a struggle", and that no weapon was found. The death was soon declared to be a homicide, but the circumstances surrounding it have not been determined, and the case remains unsolved. Byard was survived by two daughters, a son, four grandchildren, and six great-grandchildren. His wife of four decades had died five years earlier.

Byard plays only piano, unless otherwise noted. • Recording date — Title — Label — Year released — Notes • 1960-12 — Blues for Smoke — Candid — 1988 — Solo piano • 1961-03 — Here's Jaki — New Jazz — 1961 — Trio, with Ron Carter (bass), Roy Haynes (drums); Byard also plays alto sax • 1962-01 — Hi-Fly — New Jazz — 1962 — Trio, with Ron Carter (bass), Pete La Roca (drums) • 1961-03, 1964-05 — Out Front! — Prestige — 1965 — Trio, with Bob Cranshaw and Ron Carter (bass; separately), Walter Perkins and Roy Haynes (drums; separately); quintet with Richard Williams (trumpet), Booker Ervin (tenor sax) added on some tracks; Byard also plays alto sax • 1965-04 — Jaki Byard Quartet Live! (Vol. 1 and Vol.2) — Prestige — 1965 — Quartet, with Joe Farrell (tenor sax, soprano sax, flute), George Tucker (bass), Alan Dawson (drums, vibraphone); in concert • 1965-04 — The Last from Lennie's — Prestige — 2003 — Personnel as Jaki Byard Quartet Live!, Vol. 1; in concert • 1966-01 — Freedom Together! — Prestige — 1966 — Trio, with Richard Davis (bass, cello), Alan Dawson (drums, vibraphone); Junior Parker (vocals) on some tracks; Byard also plays electric piano, celeste, vibraphone, tenor sax, drums • 1967-02 — On the Spot! — Prestige — 1967 — Quartet, with Jimmy Owens (trumpet, flugelhorn), Paul Chambers (bass), Billy Higgins (drums); trio with George Tucker (bass), Alan Dawson (drums) on one track; Byard also plays alto sax • 1967-10 — Sunshine of My Soul — Prestige — 1967 — Trio, with David Izenzon (bass), Elvin Jones (drums); Byard also plays guitar • 1968-04 — Jaki Byard with Strings! — Prestige — 1968 — Sextet, with George Benson (guitar), Ray Nance (violin, vocals), Ron Carter (cello), Richard Davis (bass), Alan Dawson (drums, vibraphone); Byard also plays organ • 1968-09 — The Jaki Byard Experience — Prestige — 1969 — Quartet, with Roland Kirk (tenor sax, manzello, clarinet, whistle), Richard Davis (bass), Alan Dawson (drums) • 1969-07 — Solo Piano — Prestige — 1969 — Solo piano • 1971-07 — Live at the Jazz'Inn — Futura — 1971 — Trio, with Gus Nemeth (bass), Jean My Truong and Gerald Byard (drums; separately); in concert • 1971-07 — Parisian Solos — Futura — 1971 — Solo piano • 1972-02 — Duet! — MPS — 1975 — Duo, with Earl Hines (piano) • 1972-07 — The Entertainer — Victor — 1972 — Solo piano • 1972 — There'll Be Some Changes Made — Muse — 1973 — Solo piano; also released as Empirical • 1976 — Flight of the Fly — Le Chant du Monde — 1977 — Solo piano • 1978-04, 1978-05 — Family Man — Muse — 1979 — Trio, with Major Holley (bass, tuba), J. R. Mitchell (drums); Warren Smith (drums, vibraphone) replaces Smith on some tracks; Byard also plays tenor sax, alto sax • 1978-06 — Sunshine of My Soul: Live at the Keystone Korner — HighNote — 2007 — Solo piano; in concert • 1978– 1979 — A Matter of Black and White — HighNote — 2011 — Solo piano; in concert • 1979-08 — The Late Show: An Evening with Jaki Byard — HighNote — 2014 — Solo piano; in concert • 1981-05 — Improvisations — Soul Note — 1982 — Duo, with Ran Blake (piano) • 1981-05 — To Them – To Us — Soul Note — 1982 — Solo piano • 1982-02 — The Magic of 2 — Resonance — 2013 — Duo, with Tommy Flanagan (piano); some solo piano • 1984-08 — Live at the Royal Festival Hall — Leo — 1987 — Duo, with Howard Riley (piano); some solo piano • 1984-09 — Phantasies — Soul Note — 1984 — With the Apollo Stompers • 1988-08 — Phantasies II — Soul Note — 1988 — With the Apollo Stompers • 1988-08 — Foolin' Myself — Soul Note — 1989 — Trio, with Ralph Hamperian (bass), Richard Allen (drums) • 1991-09 — Jaki Byard at Maybeck — Concord — 1992 — Solo piano; in concert • 1996-01 — The Changes of Life — Meldac — 2001 — Trio, with Ralph Hamperian (bass), Richard Allen (drums) • 1996-12 — This Happening — Justin Time — 1997 — Duo, with Michael Marcus (various reed instruments) • 1997-01 — Night Leaves — Brownstone — 1997 — Duo, with David Eyges (electric cello) • 1998-07 — July in Paris — Fairplay — 1999 — Trio, with Ralph Hamperian (bass), Richard Allen (drums); quartet with Ricky Ford (tenor sax) added on some tracks; in concert • 1998-03 — My Mother's Eyes — Fairplay — 2000 — With the Apollo Stompers

An asterisk (*) indicates that the year is that of release. • Year recorded — Leader — Title — Label • 1965 — Art — Live in '65 — Jazz Icons [DVD] • 1973 — Al and Zoot Sims — Body and Soul — Muse • 1960–61 — Chris and Maynard Ferguson — Double Exposure — Atlantic • 1960 — Eric — Far Cry — New Jazz • 1960 — Eric — Outward Bound — Prestige • 1960 — Don — How Time Passes — Candid • 1961 — Don — New Ideas — New Jazz • 1963 — Booker — The Freedom Book — Prestige • 1964 — Booker — The Space Book — Prestige • 1963–64 — Booker — Groovin' High — Prestige • 1965 — Booker — The Trance — Prestige • 1965 — Booker — Setting the Pace — Prestige • 1966 — Booker — Heavy!!! — Prestige • 1960 — Maynard — Newport Suite — Roulette • 1960 — Maynard — Let's Face the Music and Dance — Roulette • 1961 — Maynard — Maynard '61 — Roulette • 1961 — Maynard and Chris Connor — Two's Company — Roulette • 1961 — Maynard — "Straightaway" Jazz Themes — Roulette • 1961 — Maynard — Maynard '64 — Roulette • 1978 — Ricky — Manhattan Plaza — Muse • 1989 — Ricky — Manhattan Blues — Candid • 1990 — Ricky — Ebony Rhapsody — Candid • 1991 — Ricky — American-African Blues — Candid • 1962 — Honi — Honi Gordon Sings — Prestige • 1971 — Quincy — Smackwater Jack — A&M • 1964* — Rufus — Five on Eight — Cameo • 1984 — Clifford — Dr. Chicago — Bee Hive • 1965 — Roland — Rip Rig & Panic — Limelight • 1966 — Roland — Here Comes the Whistleman — Atlantic • 1966 — Eric — Grits & Gravy — Prestige • 1968 — Eric — Sky Shadows — Prestige • 1969 — Eric — In the Land of the Giants — Prestige • 1998 — Michael — Involution — Justin Time • 1950 — Charlie — Charlie Mariano with His Jazz Group — Imperial • 1951 — Charlie — Modern Saxophone Stylings of Charlie Mariano — Imperial • 1962 — Makanda Ken — Year of the Iron Sheep — United Artists • 1975 — Makanda Ken — Home — SteepleChase • 1962 — Charles — The Complete Town Hall Concert — Blue Note • 1963 — Charles — The Black Saint and the Sinner Lady — Impulse! • 1963 — Charles — Mingus Mingus Mingus Mingus Mingus — Impulse! • 1964 — Charles — Town Hall Concert — Jazz Workshop • 1964 — Charles — The Great Concert of Charles Mingus — America • 1964 — Charles — Mingus in Europe Volume I — Enja • 1964 — Charles — Mingus in Europe Volume II — Enja • 1964 — Charles — Mingus at Monterey — Jazz Workshop • 1964 — Charles — Astral Weeks — Moon • 1964 — Charles — Charles Mingus Sextet with Eric Dolphy Cornell 1964 — Blue Note • 1964 — Charles — Revenge! — Revenge • 1970 — Charles — Charles Mingus in Paris: The Complete America Session — Sunnyside • 1970 — Charles — Charles Mingus Sextet In Berlin — Beppo • 1988 — Live at the Theatre Boulogne-Billancourt/Paris, Vol. 1 — Soul Note • 1988 — Live at the Theatre Boulogne-Billancourt/Paris, Vol. 2 — Soul Note • 1969 — Ray — Body and Soul — Solid State • 1957 — Herb — Life Is a Many Splendored Gig — Roulette • 1965 — Dannie — "In" Jazz for the Culture Set — Impulse! • 1964 — Sam — Fuchsia Swing Song — Blue Note • 1985 — Jordan — Rhythm Is Our Business — Stash • 1978 — Archie — Lady Bird — Denon • 1981 — Amarcord Nino Rota — Hannibal • 1974 — Phil — Musique du Bois — Muse Sources:

Byard worked as pianist, composer, music educator and jazz musician, and the authority record catalogues a further 3 occupations under the same name, among them university teacher, recording artist and musician. Byard was active from 1938 to 1999. Byard was employed by Manhattan School of Music and New England Conservatory. The fields Byard worked in include jazz, hard bop and free jazz. Byard played the piano, the tenor saxophone, the guitar, the violin, the trumpet and the trombone.