I Must admit that apart from that album I never followed her career closely but interesting given her well documented and shocking life while living with Ike.
Received the remastered Let it Be- by the Beatles standard it’s not really that good… but still pleased with my purchase however now listening to Rubber Soul- my favourite Beatles album- well today as it changes depending on my mood.
Feeling a bit lazy this morning so selected one of the My Mix playlists from Tidal
The track Hush from this previously unheard by me album came on prompting further investigation. It’s also the first released Blue Note session to include some obscure pianist by the name of Herbie Hancock…
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 baritionist 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, signaling early on in his career his deep, unique talent.
