Carlos Wesley (Don) Byas (October 21, 1911 – August 24, 1972) was an American jazz tenor saxophonist. He was born in Muskogee (Oklahoma), in the United States. His long stay in Europe prevented him from being seen in America, but he was a major influence on the later players of his instrument. His parents were both musicians in their early years (1912-1932). His mother played the clarinet and his father the piano. Byas began his classical music training on the violin, then the clarinet, and finally the alto saxophone. He played this instrument until the 20th century. Multi-instrumentalist Benny Carter was his idol at this time. At the age of 17 he began playing in local orchestras with Terrence Holder, Bennie Moten and Walter Page’s Blue Devils. He founded and led his college band “Don Carlos and His Collegiate Ramblers” at Langston College in Oklahoma during 1931-1932. West Coast (1932-1937). Byas moved to West Coast in 1937 and switched to the tenor Saxophone. He also played with several Los Angeles bands. He participated in the 1933 West Coast tour of Bert Johnson’s Flats and Sharps. In 1935, he was a member of Lionel Hampton’s Paradise Club band with Eddie Barefield, the arranger and reed player, and Tyree Glenn the trombonist. He was also a member of several other bands in the region, including Lorenzo Flennoy, Buck Clayton (1936), Lorenzo Flennoy, and Charlie Echols. New York (1937-1946). Byas arrived in New York in 1937 to join the Eddie Mallory Band. He also accompanied Mallory’s spouse, Ethel Waters on tour and at The Cotton Club. In 1938, he was briefly with Don Redman’s orchestra and then in 1939-1940. His first solo was “Is this to be My Souvenir”, recorded with Timme Rosenkrantz, his Barrelhouse Barons and Victor. Lucky Millinder and Andy Kirk were his musical influences. He also played with Benny Carter’s bands. Andy Kirk recorded with him for about a year, from March 1939 to January 1940. He also recorded a short solo on “You set me on fire”. He recorded an 8-bar solo on “Practice Makes Perfect” in September 1940 with Billie Holiday. Sessions were held with Pete Johnson, Hot Lips Page’s trumpeter, and Big Joe Turner, who was also his pianist. He played in the after-hours sessions at Minton’s Playhouse with Charlie Christian and Thelonious Monk in 1941. After a brief stay with Paul Bascomb in 1941, he got his big break when Count Basie selected him to replace Lester Young as his main band member. “Harvard Blues”, Jimmy Rushing singing George Frazier’s song, was recorded on November 17, 1942. He also recorded “Royal Garden Blues” with Buck Clayton and his rhythm section (Freddie Green and Walter Page) August 1942. From there, he went to Hollywood to record “Sugar Blues” and “Sugar Blues”. In Hollywood, he played in small bands with Basie’s group. May 1944. He shared tenor duties in Hawkins’ “Sax Ensemble”, recording “Be-Bop”, and “Good Bait”, with Gillespie. May 1943. Recorded “Be-Bop”, the “Salt Peanuts” and “Sugar Blues” January 1945 for Manor Records Mary Lou Williams. May 1944. Hot Lips Page. May 1944. Recorded “Woody ‘n You”, the title tune from Otto Preminger’s 1944 movie. Although he was inspired by Coleman Hawkins, Byas cites Art Tatum as his greatest influence. January 4, 1945 – Clyde Hart, singer of “Rubberlegs”, Williams, Gillespie and Parker, Trummy Young. January 9, 1945: Gillespie and Parker record “Be Bop”, and “Salt Peanuts” Town Hall concerts. They also recorded “Salt Peanuts”, and a duet with Slam Stewart in 1945 Savoy session in 1945-46. January 11, 1946. Esquire magazine. February 22, 1946. Recorded with Gillespie. September 1946. Byas traveled to Europe. The band has toured through Germany, Belgium, Switzerland and Switzerland as part of the expedition. The first all-black American orchestra to visit Paris since the liberation was the Byas. Like Redman’s orchestra, Byas forgot to cross the Atlantic. After several bookings, Byas finally settled in Paris and was allowed to record almost immediately. He recorded “Laura” as well as “How High the Moon” while still in Geneva. Redman, Tyree Glenn, and Peanuts Holland recorded his first French recording in December 1946. Recorded with Eddie Barclay for the Swing label and Blue Star label (January 1947). Byas moved to Barcelona in 1948 and 1947 to take advantage of the low cost of living and the vibrant atmosphere. He made many friends and was a prolific worker. Tete Montoliu, a pianist, sneaked into Barcelona’s Copacabana Club to hear the great saxophone player. Byas was in his prime during these years. He performed with Bernard Hilda’s Orchestra (August 1947), Francisco Sanchez Ortega and Luis Rovira. Bill Coleman was the New Year’s 1949 performer; in the fall he toured with Buck Clayton. From 1948 onwards, Byas became a familiar figure not only around the Saint-Germain-des-Pres 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. The tenor could find work, was able to record frequently and had many friends. They loved his musical talents, but also his skills as a fisherman and diver. He was also a great chef and made Louisiana-style meals for the many admirers (mostly women) who would gather around this bon vivant. Mary Lou Williams and Andy Kirk rekindled their friendship in Paris, where they lived from 1952 to 1954. They recorded together for Vogue in 1953. In the same year, Byas recorded with Beryl Bucher. Later in his life (1961-1972), Byas moved to the Netherlands with a Dutch wife. He spent a lot of time in Europe with many American touring musicians, including Kenny Clarke and Duke Ellington. During his time in Europe, he also recorded with Amalia Rodrigues, a fado singer. Byas didn’t return to the U.S. before 1970, when he appeared at the Newport Jazz Festival. In Amsterdam, he died from lung cancer. Trivia Byas’ tenor Saxophone, which he bought from his widow, is currently on display at Rutgers University’s Institute of Jazz Studies. Text contributed by users is available under Creative Commons By–SA License. It may also be available under GNU FDL.
