Billboard : 06/24/1957
Special Merit Jazz Album

Unusually well-conceived program of modern jazz writing and blowing by some of the soundest of the “young moderns.” Gryce impresses profoundly with his arrangements and also with his brilliant, immaculate alto playing. Byrd‘s trumpet has never sounded more distinctive, inventive and pure-toned. The combo not only plays great musical ideas, but it plays them to sound good as well. Plenty of outstanding solos. Set deserves to be pushed.

—–

Cashbox : 06/29/1957

The Jazz Lab Quintet is a new combo headed by Don Byrd (trumpet) and Gigi Gryce (alto sax) making its initial LP pressing. Three of the original 7 track bill highlights the group as is, while the remaining four sessions take on 4 more players. The basic crew also includes Art Taylor (drums), Wendell Marshall (bass), and Tommy Flanagan (piano), all nicely aiding Byrd and Gryce provide the disk’s freshness of sound, and appealing approach. Fine jazz entry.

—–

Jackson Clarion-Ledger
Pinckney Keel : 07/14/1957

Don Byrd and Gigi Gryce, trumpeter and alto saxophonists respectively, present some unusual aspects of jazz in Columbia’s Jazz Lab, in which the Jazz Lab Quintet plays on three sides, with four horns augmenting on the other four. All the arrangements are by Gryce except one by Benny Golson, and include, blues, real swingers, and a modern waltz. Over the Rainbow is as colorful as it sounds with this group, with theme variations leading one to have difficulty in believing that only five musicians are playing. Art Taylor on drums, Wendell Marshall on bass and Tommy Flanagan and Wade Legge on piano compliment the headliners.

—–

Miami Herald
Fred Sherman : 09/01/1957

Jazz Lab Quintet led by Donald Byrd‘s trumpet and Gigi Gryce‘s alto sax. On the progressive side with rhythm from Art Taylor, Wendell Marshall and Tommy Flanagan. On four of the seven tunes, the quintet is expanded by heavier horns of Jimmy Cleveland, Benny Powell, Don Butterfield and Sahib Shihab. Gryce cuts out smoothly on his own Sans Souci, one of the quintet offerings.

—–

San Francisco Examiner
C.H. Garrigues : 08/25/1957

This album deals with material more familiar to modern jazz fans and tends to confirm the rapidly growing opinion that Don Byrd is in fact, what his admirers have long claimed: the top modern trumpeter. Byrd’s technique, though improving, is still not impeccable; yet his sense of form (as a jazzman would say, his “ideas”) are so exciting, so perfectly “right” that even when he reaches for a high one and gets a whistle instead of a tone, you are delighted because, in terms of the old jive-talk story, you “know exactly what he was thinkin’.” And what he was thinkin’ was right.

—–

Down Beat : 10/03/1957
Ralph J. Gleason : 4.5 stars

The Jazz Lab obviously has its Bunsen burners cooking these days, and the results are fine. The fact that there is sometimes an air of reaching for effect is all that keeps his otherwise splendid performance from 5 stars.

A good deal of the reason, of course, is that the music ability of the group as a unit and individually is quote high. Both LPs were made early in 1957, and although the Columbia sides have shifting personnel, there is still a cohesion that is felt throughout.

Byrd seems to be rapidly approaching maturity as a soloist. He plays here with feeling, confidence and a steady flow of ideas. His solo on Benny Golson‘s I Remember Clifford is particularly memorable, and he cut another good one on Rainbow. He is the solo star of the dates, although Gryce, especially in the first half of his statement on Rainbow plays excellently.

There is little difference in performance between, the two LPs.

There are different instrumentations used on the Columbia disc, which makes it varied in appeal, and it also possesses the two best numbers – Speculation, one of the best jazz tunes in recent years, and I Remember Clifford, the best track on either LP.

The Riverside album offers a brace of old friends in new clothes – Love for Sale and Zing! Went the Strings, in which Byrd’s intriguing arrangements steal the show. Of Gryce’s originals, the exotic Sans Souci appeals to the most, with its whispering echo of other days.

On the Columbia disc, Speculation and Nica’s Temple bear favorable comparison to other performances of the same numbers by Gryce. If anything, the solos on Speculation are better there than on the Signal version, although the basic arrangement is the same.

—–

Liner Notes by Unknown

The Jazz Lab Quintet, organized by coleaders Gigi Gryce and Don Byrd, is one of the best new groups to be put together in recent years. The group began working (without, however, a permanent pianist) just before these recording sessions took place in 1957. This record demonstrates how quickly these musicians were able to achieve a distinct unity in so short a time.

The JLQ is heard entirely by itself in three numbers (see box); in the rest of this album, it is augmented by four horns, but the structure of the arrangements is such that the Quintet is frequently heard by itself, with the rest of the orchestra at times serving only as a background but more often providing a contrasting, rich color, but in the same style, much in the manner of a concerto grosso with a small group against a larger ensemble.

All the arrangements, except for I Remember Clifford, are by Gigi Gryce. Aside from being an exceptional saxophonist, he is one of the leading lights among the younger writers in the jazz field, both as a composer and as an arranger. His studies in composition with Alan Hovharness in Boston and Arthur Honegger in Paris have contributed much to his wide range of expression in jazz. Coleader Don Byrd, who first won recognition with the Jazz Messengers and more recently as Clifford Brown‘s replacement with Max Roach, is also a serious student in composition; currently he is at the Manhattan School of Music while the JLQ is in town.

THE MUSIC

Speculation is a Horace Silver original and a swinger. This track begins by introducing Byrd, Gryce and Flanagan. The theme is an example of a 32-bar blues; the solos are based on the usual 12-bar structure. Wendell Marshall is also featured.

Over the Rainbow is an arrangement which is a melodic, rhythmic and harmonic variation on a familiar standard. The band’s first chorus is an unusual variation on the theme; in the release, particularly, it is difficult to believe that only five musicians are playing. The soloists are provided with a rearrangement of the chord structure which suggests more interesting lines than those of the original.

Nica’s Tempo is a Gryce original dedicated to Baroness Nica Koenigswarter, who is an artist and a great admirer of jazz. This tune is constructed on a 44-bar theme. In the arrangement Gigi strives for a unique instrumental blend, with emphasis on dynamics and tone colors. Art Taylor is featured and is in his usual good form.

Blue Concept, composed by Gigi Bryce, begins with a drum introduction and is followed by Wendell Marshall’s soulful walking bass. After the figure, which is twelve bars unison and twelve bars counterpoint between trumpet and alto, the fireworks begin. A hymn-type melody is playing after Byrd’s solo, which is backed by some effective piano strolling. After solos by Gryce and Legge, two choruses of 4-bar exchanges among Byrd, Taylor and Gryce to build to an exciting climax.

Little Niles is one of the most successful departures from the basis 4/4 approach to jazz. It has been described as a beautiful modern waltz. It also contains Oriental overtones, but remains pure jazz. Pianist Randy Weston, who composed this piece, dedicates it to his son Niles. There are definite contributions toward the advancement of jazz form to be found here:

1. The usual 8-bar release is expanded to 16.
2. A 4/4 time feeling is played by the rhythm sections against a 3/4 feeling by the horns.
3. As jazz is usually improvised in 4/4 time, this tune presents a challenge to the soloist to phrase his ideas and swing in 3/4.

The result is some of the most soulful and exciting playing in the album.

Sans Souci. The title of this Gryce original describes its mood – free and easy. In the introduction and ending, the celeste is used as a third horn. The theme is presented with a Latin beat; the beat then changes to swing for the blowing choruses.

I Remember Clifford, written and arranged by the gifted Benny Golson, expresses his remembrance of the late and great Clifford Brown. This melody illustrates the kind of phrasing and melodic lines which Brownie loved to create. It is also a musical recollection of his personality. Don Byrd, who knew and admired Brownie, does a magnificent job on this tune.