BN-LA-259-G

Lou Donaldson - Sweet Lou

Released - 1974

Recording and Session Information

Generation Sound Studios, NYC, March 14, 1974
overdubbed at Generation Sound Studios, NYC, 1974
Lou Donaldson, alto sax, electric alto sax; Horace Ott, keyboards, synthesizer, arranger, conductor; Paul Griffin, Clavinet; Cornell Dupree, Hugh McCracken, David Spinozza, guitar; Wilbur Bascomb Jr., electric bass; Bernard Purdie, Jimmie Young, drums; unknown, congas, vibes, percussion; + overdubs: Danny Moore, Ernie Royal, Joe Shepley, trumpet; Garnett Brown, trombone; Arthur Clarke, Seldon Powell, tenor sax, flute; Buddy Lucas, harmonica; Bill Davis, Eric Figueroa, Eileen Gilbert, Hilda Harris, Barbara Massey, William Sample, Carl Williams Jr., backing vocals.

14049 tk.3 Hip Trip
14047 tk.5 If You Can't Handle It Give It To Me
14110 tk.7 Love Eyes

Generation Sound Studios, NYC, March 19, 1974
overdubbed at Generation Sound Studios, NYC, 1974
Lou Donaldson, alto sax, electric alto sax; Horace Ott, keyboards, synthesizer, arranger, conductor; Paul Griffin, Clavinet; Cornell Dupree, Hugh McCracken, David Spinozza, guitar; Wilbur Bascomb Jr., electric bass; Bernard Purdie, Jimmie Young, drums; unknown, congas, vibes, percussion; + overdubs: Danny Moore, Ernie Royal, Joe Shepley, trumpet; Garnett Brown, trombone; Arthur Clarke, Seldon Powell, tenor sax, flute; Buddy Lucas, harmonica; Bill Davis, Eric Figueroa, Eileen Gilbert, Hilda Harris, Barbara Massey, William Sample, Carl Williams Jr., backing vocals.

14051 tk.5 Peepin'
14052 tk.8 Herman's Mambo
14048 tk.15 Lost Love

Generation Sound Studios, NYC, March 21, 1974
overdubbed at Generation Sound Studios, NYC, 1974
Lou Donaldson, alto sax, electric alto sax; Horace Ott, keyboards, synthesizer, arranger, conductor; Paul Griffin, Clavinet; Cornell Dupree, Hugh McCracken, David Spinozza, guitar; Wilbur Bascomb Jr., electric bass; Bernard Purdie, Jimmie Young, drums; unknown, congas, vibes, percussion; + overdubs: Danny Moore, Ernie Royal, Joe Shepley, trumpet; Garnett Brown, trombone; Arthur Clarke, Seldon Powell, tenor sax, flute; Buddy Lucas, harmonica; Bill Davis, Eric Figueroa, Eileen Gilbert, Hilda Harris, Barbara Massey, William Sample, Carl Williams Jr., backing vocals.

14050 (tk.11) You're Welcome, Stop On By

Track Listing

Side One Title Author Recording Date You're Welcome, Stop On By Bobby Womack March 21 1974 Lost Love Lou Donaldson March 19 1974 Hip Trip Don Patterson March 14 1974 Side Two If You Can't Handle It, Give It To Me Lou Donaldson March 14 1974 Love Eyes Moose Charlap, Norman Gimbel March 14 1974 Peepin' Lonnie Smith March 19 1974 Herman's Mambo Herman Foster March 19 1974 Liner Notes Recently, I found myself feeling very nostalgic, thinking about the 'good times' I used to have listening to and talking about jazz. And in most instances of this sort, Charlie 'Yardbird' Parker drifts into my recollections as well because of the overwhelming influence he had on the direction of jazz artists emerging and taking part in the musical revolution of that period. Thinking back, I recall saxophonists (alto. tenor etc ) had a rough time because of 'Bird' and his musical wings which were so broad they blocked out the slightest shadow of any other saxophonists There was no getting around the fact that if you dared to pick up the alto saxophone, then be prepared to duel on 52nd Street, or 125th Street, or on the Brooklyn Bridge if necessary. Be prepared to play. No gimmicks would be accepted, only style. Well. about the mid-1950's in and among a number of hopeful alto saxophonists was Lou Donaldson "making a name for himself", as they say. He really was doing a little more than that; he was trimming 'Bird's' feathers enough so that he could get through to present his style of blowing which was pleasing but without a label. It's incredible to discover that after about twenty years this album title, 'Sweet Lou' is really what Lou Donaldson was all about. And then, just as now, there are probably the same reactions to Lou's artistry: it's profound like a slap in the face. On listening to this album you can expect the same assault upon your jaws. And if you've followed Lou's string of album presentations then you know what I'm talking about. However, 'Sweet Lou" offers a different form of assault. There is, for instance, an unsparing passion and lyrical know-how when listening to the Lost Love and Love Eyes tracks. On both occasions Lou colors a performance and mood with variable tones of his horn. The songs speak of love, but the intrinsic values of the performance are laced With Lou Donaldson-style funk. Each time you listen to the different tracks on this album they will reveal some new nuance; some feeling that you might have felt at first but didn't really come to grips with until there was that second (or third) listening. This might very easily happen when you listen to the Latin-flavored Herman's Mambo. It is not the usual approach. It may seem so to some listeners, but the envelope carrying Lou's very hip message bears a Spanish Harlem postmark. And very much represented is 8th Avenue and 125th Street Harlem. Peepin' is that representative. It is also the roots of Lou Donaldson's rich style, just as Hip Trip, the track is an all-encompassing look into the soul of Lou Donaldson. As mentioned earlier, it has taken two decades to ascertain what in fact has set Lou Donaldson off from the other alto saxophone artists- 'Sweet Lou' is that special characteristic. Lou Donaldson, and this album, generously shows you why. Leroy Robinson