Given the long period of time that Donald Byrd recorded for Blue Note (from the 1950s through the mid-'70s), it seems more than a little disingenuous to refer to the relatively brief period he spent with the Mizell Brothers as his producers, arrangers, and composers in the '70s as his best work. It is true that it was his most commercially viable period, and that many of the cuts he recorded with them ~ AllMusic
Scholarship of literature and the environment demonstrates myriad understandings of nature and culture. While some work in the field results in approaches that belong in the realm of cultural studies, other scholars have expanded the boundaries of ecocriticism to connect the practice more explicitly to disciplines such as the biological sciences, human geography, or philosophy. …
One of his last efforts with the Mizell production team was definitely not his most critically acclaimed, but Caricatures continued Byrd's commercial winning streak that started years previous with 1969's Kofi and such '70s Blue Note classics as Places and Spaces, Black Byrd, and Street Lady. His last release for the label was no exception to the formula set forth from the previously mentioned albums. ~ AllMusic
Donaldson Toussaint L'Ouverture "Donald" Byrd II (December 9, 1932 – February 4, 2013) was an American jazz and rhythm & blues trumpeter. A sideman for many other jazz musicians of his generation, Byrd was best known as one of the only bebop jazz musicians who successfully pioneered the funk and soul genres while simultaneously remaining a jazz artist.
A definite soul based session for Donald Byrd – and that's saying a lot here, because his previous decade's worth of work had all had some sort of R&B focus. The main force behind the set here is Isaac Hayes – who's producing, arranging, and playing most of the keyboards on the album. Oddly, Ike's not singing at all – and vocals are instead handled by Rose Williams, Diane Davis, Pat Lewis, and Myra Walker – plus the Hot Buttered Soul group on backing vocals.