Music database


Don Byas

Don Byas

born on 21/10/1912 in Muskogee, OK, United States

died on 24/8/1972 in Amsterdam, Noord-Holland, Netherlands

Don Byas

From Wikipedia, the free encyclopedia.

Carlos Wesley "Don" Byas (October 21, 1912 – August 24, 1972) was an American jazz tenor saxophonist, most associated with bebop. He played with Count Basie, Duke Ellington, Art Blakey, and Dizzy Gillespie, among others, and also led his own band. He lived in Europe for the last 26 years of his life.


Oklahoma and Los Angeles

Byas was born in Muskogee, Oklahoma. Both of Byas' parents were musicians. His mother played the piano, and his father, the clarinet. Byas started his training in classical music, learning to play violin, clarinet and alto saxophone,[1] which he played until the end of the 1920s.

Benny Carter, who played many instruments, was his idol at this time. Byas started playing in local orchestras at the age of 17, with Bennie Moten, Terrence Holder and Walter Page. He founded and led his own college band, Don Carlos and His Collegiate Ramblers, during 1931-32, at Langston College, Oklahoma.[2]

Byas switched to the tenor saxophone after he moved to the West Coast and played with several Los Angeles bands. In 1933, he took part in a West coast tour of Bert Johnson's Sharps and Flats. He worked in Lionel Hampton's band at the Paradise Club in 1935 along with the reed player and arranger Eddie Barefield and trombonist Tyree Glenn. He also played with Buck Clayton, Lorenzo Flennoy and Charlie Echols.

New York City

In 1937, Byas moved to New York to work with the Eddie Mallory band, accompanying Mallory's wife, the singer Ethel Waters, on tour, and at the Cotton Club. He had a brief stint with arranger Don Redman's band in 1938 and later in 1939-1940. He recorded his first solo record in May 1939: "Is This to Be My Souvenir?" with Timme Rosenkrantz and his Barrelhouse Barons for Victor. He played with the bands of such leaders as Lucky Millinder, Andy Kirk, Edgar Hayes and Benny Carter. He spent about a year in Andy Kirk’s band, recording with him between March 1939 and January 1940, including a short solo on "You Set Me on Fire".

In September 1940, he had an eight bar solo on "Practice Makes Perfect", recorded by Billie Holiday. He participated in sessions with the pianist Pete Johnson, trumpeter Hot Lips Page, and singer Big Joe Turner. In 1941 at Minton's Playhouse he played with Charlie Christian, Thelonious Monk and Kenny Clarke in after hours sessions.[3][4]

In early 1941, after a short stay with Paul Bascomb, he had his big break when Count Basie chose him to succeed the post of Lester Young in his big band. Byas recorded "Harvard Blues" with the Basie orchestra on November 17, 1941 on Jimmy Rushing's vocal version of George Frazier's tune. He was part of a small group session on July 24, 1942 with Buck Clayton, Count Basie, and his rhythm section (Freddie Green, Walter Page, Jo Jones) recording "Royal Garden Blues" and "Sugar Blues".

In August 1942, the band went to Hollywood record for the film Reveille with Beverly, to be followed by another film, Stage Door Canteen, in February 1943. He stayed with Basie until November 1943.

He played in small bands in New York clubs, including the Coleman Hawkins orchestra (1944), and he associated with beboppers such as Dizzy Gillespie, Charlie Parker, George Wallington, Oscar Pettiford and Max Roach at the Onyx Club from early 1944. He recorded with the latter under Hawkins on what is said to be the first bebop issue, "Woody 'n You", on February 16 and 22, 1944. In May 1944, he shared tenor duties with Hawkins in the latter's Sax Ensemble, as well as leading his own band on performances at the Three Deuces club. After recording for a number of small labels (Savoy, Jamboree, National, Disc, Arista, Super, American, Hub, Gotham) in this period, Byas had a major hit with "Laura" by David Raksin, the title tune of Otto Preminger's movie of the same name (1944).

On January 4, 1945, Byas recorded with Clyde Hart, singer Rubberlegs Williams, Gillespie, Parker, Trummy Young, and on January 9, 1945, Gillespie, Byas and Young recorded "Be Bop", "Salt Peanuts", and "Good Bait" for Manor. On June 9, Byas and Slam Stewart played a live duet at The Town Hall. Byas led a small group for several sessions for Savoy during 1945–46. He was second-place winner in tenor sax of the Esquire All-American Awards in January 1946, and in February, he recorded again with Gillespie on "52nd Street Theme" and "Night in Tunisia".

Despite his bebop associations, Byas remained deeply rooted in the sounds of swing. He started out by emulating Coleman Hawkins, but Byas cited Art Tatum as his greater influence: "I haven't got any style! I just blow like Art".[5]


In September 1946 Byas went to Europe to tour with Don Redman's big band in Denmark, Belgium, Switzerland, and Germany. They were the first civilian jazz big band to tour the old continent after the war.[6][7] Byas remained in Europe. After playing in Belgium and Spain, he finally settled in Paris, and was able to record almost immediately.

While still in Geneva, Byas recorded "Laura" and "How High the Moon". In December 1946 he recorded for the first time in France, with Redman, Tyree Glenn and Peanuts Holland. He recorded for the Swing and Blue Star labels in 1947, working with Eddie Barclay. In 1947-48, he lived in Barcelona, due to the lower cost of living and the thriving atmosphere.[8] Pianist Tete Montoliu sneaked into the Copacabana Club in Barcelona to hear the great saxophone player.[8]

Byas played with Bill Coleman in early 1949; touring that autumn with Buck Clayton. From 1948 onward, Byas became a familiar figure not only around the Saint-Germain-des-Prés in Paris, but also on the Riviera, where he could be seen in Saint-Tropez sporting a mask, tuba, flippers and an underwater spear-gun.[9] Byas collaborated again with Andy Kirk and recorded together on Vogue in 1953. Byas also recorded with Beryl Booker in the same year.


Byas moved to the Netherlands in the early 1950s; in 1955 he married Johanna "Jopie" Eksteen.[10]

He worked extensively in Europe, often with touring American musicians. He also recorded with fado singer Amália Rodrigues during his time in Europe. Byas did not return to the U.S. until 1970, appearing at the Newport Jazz Festival. He died in Amsterdam in 1972 from lung cancer, aged 59.


  • Byas' last Dolnet tenor saxophone (purchased from his widow) is on display at Rutgers University's Institute of Jazz Studies.[11] His first custom Dolnet Bel Air tenor sax is owned by James Carter.[12]
  • Byas was inducted into the Oklahoma Jazz Hall of Fame in 1997.[13]


Don Byas is leader, except as noted, in parentheses.

Early years

  • The Immortal Charlie Christian, (1939-1941 recordings, released, Legacy, 1980)
  • Quintessential Billie Holiday, Volume 8 (1940 date led by Billie Holiday, Columbia Records)
  • "Harvard Blues" (with Count Basie, 1941 on America's No. 1 Band: The Columbia Years)
  • "Sugar Blues" (with Basie, 1942, also on America's No. 1 Band)
  • "Indiana", "I Got Rhythm" and "Laura" (Various Artists, Town Hall Concert, 1945, Commodore Records)
  • Midnight at Minton's (1941)
  • Savoy Jam Party: The Savoy Sessions (1944–45)

Exile years

  • Don Byas in Paris (1946–49)
  • Those Barcelona Days 1947-1948
  • Le Grand Don Byas (1952–55)
  • The Great Blue Star Sessions 1952-1953 With Dizzy Gillespie
  • The Mary Lou Williams Quartet featuring Don Byas (1954)
  • Don Byas with Beryl Booker (1955)
  • A Tribute to Cannonball (with Bud Powell, 1961)
  • Amalia Rodrigues with Don Byas (1973)
  • A Night in Tunisia (1963)
  • Walkin' (1963)
  • Anthropology (1963)
  • Americans in Europe Vol. 2 (Impulse!, 1963)
  • Autumn Leaves (live with Stan Tracey, 1965)
  • Don Byas Quartet featuring Sir Charles Thompson (1967)
  • Ben Webster meets Don Byas (1968)

As sideman

With Dizzy Gillespie

  • The Complete RCA Victor Recordings (Bluebird, 1937-1949 [1995])


  1. ^ Don Byas 1941-1954 (liner notes). BD Jazz. 2006. ISBN 2-84907-032-7. BDJZ032. 
  2. ^ Giddins, Gary (1979). A Tribute to Cannonball (liner notes). Columbia. CK 65186. 
  3. ^ Morgenstern, Dan (1999). Midnight at Minton's (liner notes). High Note. HCD 7044. 
  4. ^ Valdes, Leo (1997). "Charlie Christian Solography". Leo Valdes. Archived from the original on 2013-08-28. Retrieved 2013-08-01. 
  5. ^ Taylor, Arthur (1977). Notes and Tones: Musician-to-Musician Interviews. New York: Perigee Books. ISBN 0399505849.  [as told by Byas to drummer Art Taylor during an interview in Paris in 1969, see here
  6. ^ Panassié, Hugues; Gautier, Madeleine (1956). "Byas, 'Don' Wesley Carlos". Dictionnaire du Jazz. p. 189. OCLC 555049254. 
  7. ^ "Don Redman's 1946 European Tour". Retrieved August 1, 2013. 
  8. ^ a b Schenker, Anatole (Feb 2002). Don Byas 1947—1951 (CD liner notes). Chronological Classics. 1239. 
  9. ^ Tercinet, Alain (2000). Laura (CD liner notes). Jazz in Paris. Don Byas. Gitanes. 4400130272. 
  10. ^ "Carlos Wesley Byas". CCM ( October 9, 2002. Retrieved November 21, 2013. 
  11. ^ "Digital Exhibit from the Instruments Collections". Institute of Jazz Studies. Retrieved August 1, 2013. 
  12. ^ Chip Chandler (January 15, 2014). "Musician in long-term love affair with sax". Amarillo Globe-News. Retrieved August 7, 2015. 
  13. ^ "Inductees". Oklahoma Jazz Hall of Fame. Retrieved August 1, 2013. 


This page was last modified 12.09.2017 12:08:14

This article uses material from the article Don Byas from the free encyclopedia Wikipedia and it is licensed under the GNU Free Documentation License.