Donald Byrd
In 2004, Donald Byrd received the NEA Jazz Masters award, a recognition that came after decades of work as a trumpeter, composer, bandleader, and recording artist across several musical genres.
Born Donaldson Toussaint L'Ouverture Byrd II in Detroit on December 9, 1932, he attended Cass Technical High School before going on to study at Wayne State University, the Manhattan School of Music, Columbia University, and Teachers College. That sustained engagement with formal education ran alongside the other major strand of his professional life: music education. As a music educator, he brought to the classroom the same range of genres he worked in as a performer — jazz, funk, soul, rhythm and blues, and Gypsy jazz. As a bandleader, he moved across those styles rather than settling into a single mode, and his output as a composer and recording artist reflected that same breadth.
Byrd also received the Bessie Awards, adding to a record of formal recognition that accompanied his work on both sides of the music stand — as a performer and as a teacher. He died on February 4, 2013, in Dover. The NEA Jazz Masters award, received during his lifetime, stands as one of the concrete markers in his career, a distinction shared by a relatively small number of musicians and one that, in Byrd's case, came to a man who had worked steadily across jazz, funk, soul, and rhythm and blues from his early years in Detroit onward.
Quotes by Donald Byrd

I can take any series of numbers and turn it into music, from Bach to bebop, Herbie Hancock to hip-hop.

In some ways the piece is like pages of a notebook that I've written thoughts on. It's a choreographer's notebook.

They don't want to pay the additional price of the gas, but we don't have anything to do with regulating the price of it.

They use all of the music that I did in the '50s, '60s and the '70s behind people like Tupac and LL Cool J. I'm into all that stuff.

I skipped school one day to see Dizzy Gillespie, and that's where I met Coltrane. Coltrane and Jimmy Heath just joined the band, and I brought my trumpet, and he was sitting at the piano downstairs waiting to join Dizzy's band. He had his saxophone across his lap, and he looked at me and he said, 'You want to play?'

It's an incredible dilemma to be an artist of color and to always be in denial about that, saying, 'I'm a choreographer first and then I'm black,' when in fact, that's not the case. I'm black first and then I'm also a choreographer.

Here in Seattle, I'm the most productive I've ever been. I don't allow myself personal distractions. I'm extremely disciplined here.

I can take any series of numbers and turn it into music, from Bach to bebop, Herbie Hancock to hip-hop,

