5-21436-2

Lou Donaldson - A Man With A Horn

Released - 1999

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, September 25, 1961
Lou Donaldson, alto sax; Jack McDuff, organ; Grant Green, guitar; Joe Dukes, drums.

tk.2 Please
tk.11 Prisoner Of Love
tk.12 The Man With A Horn
tk.20 Star Dust
tk.21 Misty

Van Gelder Studio, Englewood Cliffs, NJ, June 7, 1963
Irvin Stokes, trumpet #1-4,6; Lou Donaldson, alto sax; John Patton, organ; Grant Green, guitar; Ben Dixon, drums.

tk.3 It's Cherry Pink And Apple Blossom White
tk.9 Soul Meetin'
tk.10 Hipty Hop
tk.20 My Melancholy Baby

Additional Session Information

Van Gelder Studio, Englewood Cliffs, NJ, September 25, 1961
Lou Donaldson, alto sax; Jack McDuff, organ; Grant Green, guitar; Joe Dukes, drums.

tk.2 Please
tk.9 People Will Say We're In Love rejected
tk.11 Prisoner Of Love
tk.12 The Man With A Horn
Trees rejected
tk.20 Star Dust
tk.21 Misty

Van Gelder Studio, Englewood Cliffs, NJ, June 7, 1963
Irvin Stokes, trumpet #1-4,6; Lou Donaldson, alto sax; John Patton, organ; Grant Green, guitar; Ben Dixon, drums.

tk.3 It's Cherry Pink And Apple Blossom White
tk.9 Soul Meetin'
tk.10 Hipty Hop
tk.20 My Melancholy Baby
tk.22 When I Fall In Love rejected
tk.24 People Will Say We're In Love rejected

Track Listing

Title	Author	Recording Date
Misty	Erroll Garner	September 25 1961
Hipty Hop	Lou Donaldson	June 7 1963
Please	L. Robin-R. Rainger	September 25 1961
My Melancholy Baby	E. Burnett-G. Norton	June 7 1963
Man With A Horn	Lake-De Lange-Jenney	September 25 1961
Cherry Pink And Apple Blossom White	Louigay-M. David	June 7 1963
Prisoner Of Love	Caskill-Robin-Colombo	September 25 1961
Soul Meetin'	Lou Donaldson	June 7 1963
Star Dust	H. Carmichael-M. Parish	September 25 1961

Liner Notes

LOU DONALDSON's alto playing has always possessed a naturally soulful sound to my ears. Del Shields's liners on the album The Natural Soul lauded Lou's playing by saying, "Blue Note's most consistent contributor to happy jazz is Lou Donaldson. Very few record companies can compare with Blue Note's recording history for swinging, earthy, funky and soulful jazz." Garnering all the accolades and props for Blue Note's outstanding efforts is nonpareil: Lou Donaldson, The Man With The Horn.

Lou once told a writer that he didn't smoke or drink, even when he was in the army where everyone did. He's just clean and pure like his horn playing. His sound is unmistakable. This CD is drawn from the best of two sessions made in 1961 and 1963. The '61 group was Grant Green, guitar, Jack McDuff, organ, and Joe Dukes on drums. Lou had just introduced Grant to Blue Note and he was immediately signed on as house guitarist. McDuff, Prestige artist, makes a rare Blue Note appearance on this essentially ballad session. The late Dukes was the organist's drummer for many years.

The '63 group is made up of one of the great Blue Note rhythm sections: Grant Green, guitar, John Patton, organ, and Ben Dixon, drums as well as Irvin Stokes on trumpet. See if you can distinguish Bro. Jack from Big John, or Dukes from Dixon. Oh, yes! There are discriminating differences that you'll enjoy. Irvin Stokes from Greensboro, N.C. is a big band trumpeter who played in the bands of Tiny Bradshaw, Andy Kirk, Buddy Johnson, Jimmie Lunceford, and Duke Ellington in the '50s. On this session, Stokes sometimes uses the muted growls noted for the Ellington band; his trumpet brings to mind Blue Mitchell. He's played with Lou on various occasions ever since and was a member of Panama Francis's Savoy Sultans from 1979 through the mid-eighties. He gives a lot of energy to this session.

Our hats have to be tipped to Lou who followed in the footsteps of Blakey in bringing young cats to Blue Note and incorporating them into his bands. Blue Mitchell, Horace Silver, Grant Green, John Patton and Idris Muhammad have to be the most illustrious. Certainly, Grant will be the unchallenged "Guinness Book Record Holder" as Blue Note's most recorded guitarist.

The nine gemstones on this CD are an eclectic compilation of composers ranging from Hoagy Carmichael to Erroll Garner to Lou Donaldson. And even though six are most recognized as ballads, be prepared for some surprises and some jump, stomp, and gospel-funkiness. Garner's "Misty" in a ballad mode showcases Lou, Bro. Jack, and Grant in that order. Their nuances are mellow, and beautiful sounds of mist to the ears. Dukes's airy cymbals persist throughout. "Hipty Hop" is an up-tempo blues with Irvin squawking his muted growls of funk on trumpet as Patton struts his stuff and takes off after Lou lights the fuse. Lou comes back with an acappella answer, then Grant hip hops his spot. It really jumps. The sultry "Please" reminds me of Etta Jones's "Don't Go To Strangers." Lou, Grant and Jack all play with fervor on this ballad. "My Melancholy Baby" jumps, swings and sways with Lou, Grant and Big John stroking and striking their hip statements. Irvin comes in firmly and yields to Patton who pipes and chords back to Lou who takes us home. "Man With A Horn" was Ray Anthony's theme song. Lou leads this beautiful piece and the group underscores superbly. "Cherry Pink And Apple Blossom White" is a cha cha with Irvin leading on trumpet after Lou's intro. Dixon paces nicely on snare rims as Grant contributes a lively solo as Big John comps in a samba mood. Russ Colombo's "Prisoner Of Love" was a hit for Billy Eckstine in the forties. But at the time of this recording, it was on the charts by James Brown and The Famous Flames. Lou gives it a slow, bluesy treatment, "Soul Meeting" is sanctified swing. Everyone's testifying. Listen to Lou with Patton underneath. Stokes gets in his mini-sermon and Grant gives the benediction. This is a Reverend's summit meeting.

"Star Dust" always brings to mind Lionel Hampton and the all-stars first live rendition at JATP in Pasadena, 1947. I'm sure Hoagy would have loved this interpretation by Lou and Grant. They play as if they were stardust floating through the galaxy. This is a gem.

Throughout his recording career, Lou has taken us on a Blues Walk, ridden the Gravy Train, played with Natural Soul, been the Midnight Creeper and done the Alligator Boogaloo. If you want funkiness or lushness, Lou Donaldson is The Man With The Horn.

—ED HAMILTON, 1999
Author of The Jazz Bass Cleff

31876

Lou Donaldson - The Scorpion

Released - 1995

Recording and Session Information

"Cadillac Club", Newark, NJ, 2nd set, November 7, 1970
Fred Ballard, trumpet; Lou Donaldson, electric alto sax; Leon Spencer, organ; Melvin Sparks, guitar; Idris Muhammad, drums.

tk.10 Laura

"Cadillac Club", Newark, NJ, 3rd set, November 7, 1970
Fred Ballard, trumpet; Lou Donaldson, electric alto sax; Leon Spencer, organ; Melvin Sparks, guitar; Idris Muhammad, drums.

tk.13 Alligator Bogaloo
tk.14 The Scorpion
tk.20 The Masquerade Is Over

Full Session Information[edit]

"Cadillac Club", Newark, NJ, 1st set, November 7, 1970
Fred Ballard, trumpet; Lou Donaldson, electric alto sax; Leon Spencer, organ; Melvin Sparks, guitar; Idris Muhammad, drums.

tk.1 Foot Pattin' Time
tk.2 The Scorpion (alternate take)
tk.3 I'll Be There
tk.4 Bye Bye Blackbird
tk.5 Brother Soul (theme)

"Cadillac Club", Newark, NJ, 2nd set, November 7, 1970
Fred Ballard, trumpet; Lou Donaldson, electric alto sax; Leon Spencer, organ; Melvin Sparks, guitar; Idris Muhammad, drums.

tk.6 Turn It On (Leon's Tune)
tk.7 Untitled Bossa Nova
tk.8 Untitled Blues
tk.9 Funky Mama
tk.10 Laura
tk.11 This Is Happiness
tk.12 Brother Soul (theme)

"Cadillac Club", Newark, NJ, 3rd set, November 7, 1970
Fred Ballard, trumpet; Lou Donaldson, electric alto sax; Leon Spencer, organ; Melvin Sparks, guitar; Idris Muhammad, drums.

tk.13 Alligator Bogaloo
tk.14 The Scorpion
tk.15 I'll Be There
tk.16 Bye Bye Blackbird
tk.17 Turn It On
tk.18 This Is Happiness
tk.19 Peepin'

Session Photos

Photos: Francis Wolff/Mosaic Images / 
https://www.mosaicrecordsimages.com/

Track Listing

Side One
Title	Author	Recording Date
The Scorpion	L. Spencer Jr.	November 7 1970
Laura	Raskin	November 7 1970
Side Two
Alligator Boogaloo	L. Donaldson	November 7 1970
The Masquerade Is Over	Wrubel-Magidson	November 7 1970

Liner Notes

You won't find any discussion of the Newark, New Jersey jazz scene in the history books. Even the estimable Swing City by Barbara Kukla, a history of Newark nightlife, only goes as far as 1950. Yet the most glorious years of Newark jazz were the early '50s to the early '70s, the years when the Hammond organ dominated the scene. Little clubs, with no cover or admission charge, were the standard. Often the bandstand would be in the center of a circular bar.

It was a setting that welcomed genuine talent without frills or fancy presentations. If homegrown Newark talent such as Sarah Vaughan or Dionne Warwick no longer worked the clubs, it didn't mean that you couldn't find them hanging out. Rhoda Scott, Woody Shaw and Larry Young came directly out of this scene while players who moved to the community such as Jimmy Ponder or Houston Person were nurtured by the work available there.

The period of greatest activity occurred during the mayoral regime of Hugh Adonizio (1962-70). By the time of the riots in Newark (1967) such storied clubs as Frederick's Lounge and The Front Room were history. But the riots were a mere blip on the radar screen of activity in the downtown area. While the Cliche and Jimmy McGriffs Golden Slipper are well remembered watering holes of that time, the major corner was at Williams and Halsey streets. On one side was The Key Club and directly across the street was The Cadillac Club.

The Key Club was an important nightspot in Newark for many years. It's original location was on West Street but its greatest celebrity was achieved after the move to Williams & Halsey. The Cadillac was slightly larger and did not have the longevity of The Key Club. It's building housed a number of different clubs through the years. The Key Club was owned by Jean and Walter Dawkins while the Cadillac was owned by Jukebox Harry.

Jukebox Harry was large in the coin machine business. He had boxes and cigarette machines in most downtown Newark locations. When club owners would have money problems, Harry was frequently a source of financing. The collateral pledged was invariably the business itself. Jukebox Harry collected liquor licenses the way kids collected baseball cards and his jazz clubs always had a black manager fronting for him.

As one might imagine, there was considerable rivalry between The Key Club and The Cadillac. Surprisingly, the artists themselves were steadfast in their loyalty. Grant Green and Willis Jackson were among those who always worked The Cadillac. Jimmy Scott and Jack McDuff were among two of many who were on view at The Key Club. Lou Donaldson was a Key Club guy. So what is the 1970 Donaldson band doing, making a live album, at The Cadillac?

"I don't know why we were at The Cadillac," Donaldson said recently. "I guess we had decided to do a live album and we just needed a club to do it in. I don't recall much about the place since most of my playing in Newark was at The Key Club." It is not surprising that Blue Note had wanted to record in Newark since the scene was sizzling. Grant Green had recorded at The Cliche in August while Charles Earland was cut live at The Key Club in September. Jimmy McGriff would soon record not only his own group but singer Junior Parker at The Golden Slipper.

"We changed trumpet players the way you change socks," said organist Charles Earland, remembering his own tenure with the Donaldson band. Bill Hardman, Blue Mitchell, Melvin Lastie, Big Eddie Williams and Gary Chandler were only some of the trumpet players who passed through the Donaldson band. Fred Ballard, heard on this occasion, was from Wichita, Kansas and, as Donaldson recalls, was only with the band a few weeks.

The remainder of the accompaniment is well know. Organist Leon Spencer, Jr. is from Houston, Texas and joined the Donaldson group earlier in 1970. He would stay until late 1972 and was an accomplished composer as well as a fine organist. Along with Sparks and Muhammad, he served as a house rhythm player for Prestige during 1970 and 1971, appearing on eight separate projects at that time. Melvin Sparks, also from Houston, had apprenticed with Jack McDuff prior to joining Donaldson and by this time was a recording artist in his own right. Idris Muhammad was the man who introduced New Orleans funk beats into the New York scene. He had first joined Donaldson in 1965 and by this time was no longer travelling with the band. He would continue to make each Donaldson recording session into the '80s.

As for the leader himself, he was into his electronic period. The Varitone was an attachment for saxophone, with an amplifier. Popularized by Eddie Harris, its practitioners included not only Donaldson and Harris but Rusty Bryant, Sonny Stitt and Gene Ammons, who, unlike the others, chose not to record on it. It came along at a time when bands were getting louder and the electronics permitted saxophonists to compete for level without undue strain on the embouchure. First used by Donaldson on his Hot Dog album, it would remain as a part of his recordings throughout the 70s.

The program here is reasonably typical of a Donaldson set from this time. [There are funk tunes, ballads and swingers. "Peepin'" and "Alligator Boogaloo" (note the spelling) were big hits for Donaldson and The Scorpion was the latest in that line. 'Footpattin' Time" has also been known as "Jump Up."] The performances by all concerned are well up to standard. By the time this session was recorded, great change had been initiated for the city of Newark.

Hugh Adonizio ran for his third term as mayor at the same time he was on trial for a wide variety of corruption charges. He was not reelected but he was convicted and served a long jail term. The new mayor was Kenneth Gibson, the first black mayor in the history of Newark. Gibson was an amateur saxophonist and Newark bandleaders knew they were in for a long night if he showed up, with his horn, on their gig.

Gibson was elected as a reform mayor. Part of what he was elected to reform was the peripheral activities that made the Newark jazz scene possible. His success in doing that can be judged better by others but one fact that is not discussed and will not likely be a part of Gibson's legacy is that when he left office in 1986 there was not a single full time jazz club left in Newark. The scene that had seemed so healthy and vibrant in 1970 was over before the end of that decade - wrecked in large part by the drugs, crime and double digit inflation of the time.

The last full time jazz club actually limped into the '80s. It was Sparky J's, run by Sparky Jacobs, on the site of the old Cadillac Club. The club was owned by Jukebox Harry who also owned the shorter-lived Mister Wes on Broad Street. According to Jimmy McGriff, the building that housed The Cadillac (and is now Jets Restaurant) was sold to new owners by Jukebox Harry in the late '80s.

It would be easy to end the story right there and to suggest that Newark would be like post-Pendergast Kansas City or early '60s New Orleans (after DA Jim Garrison's cleanup campaign). And to certain old timers it did appear that the baby had been thrown out with the bath water. Yet Newark has proved to be a most resilient city. It has managed to come back to jazz respectability driven by all jazz WBGO-FM and the Newark Jazz Festival. There is little club activity, but that which is in place shows signs of continuing. The current mayor, recently elected to a third term, governs under a cloud of investigation; accused of misusing campaign funds. Some things never change.

It would be easy to suggest that Lou Donaldson hasn't changed. His playing hasn't changed nor has the mixture of ballads, blues and bebop in his sets. Yet he has long since given up his electronics and even returned to leading a piano based rhythm section in the early '80s. When he went to play in London four or five years ago, he was astonished to find kids in the discos dancing to "Alligator Boogaloo." in 1991, he reorganized the organ combo (now featuring dynamic veteran Lonnie Smith) and even brought it into the Village Vanguard in New York where organ combos had never been featured. The results were a sold out week and several return visits.

And speaking of return visits, as these notes were being written Sparks and Muhammad were off to England for another extensive tour. The music that they helped create as members of the Lou Donaldson band is known in Europe (and in Tokyo) as Acid Jazz. They are considered among the pioneers of the music. Donaldson himself was also headed for Europe to play "Peepin'" for dancers. He has been a professional band leader for more than forty years and, by this time, has seen it all. He knows how to get over, just as he knew back in 1970 when he was recording at The Cadillac Club in Newark and working for Jukebox Harry.

-Bob Porter
WBGO fm
Newark, New Jersey

GXF-3068

Lou Donaldson - Sweet Slumber

Released - 1980

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, January 20, 1967
Freddie Hubbard, trumpet; Garnett Brown, trombone; Lou Donaldson, alto sax; Jerry Dodgion, alto sax, flute; Wayne Shorter, tenor sax; Pepper Adams, baritone sax; McCoy Tyner, piano; Ron Carter, bass; Al Harewood, drums; Duke Pearson, arranger.

1822 tk.4 Sweet And Lovely
1823 tk.6 You've Changed
1824 tk.7 Sweet Slumber
1825 tk.9 It Might As Well Be Spring
1826 tk.11 What Will I Tell My Heart
1827 tk.14 The Good Life
1828 tk.15 Stardust

See Also: BST 84254

Track Listing

Side One
Title	Author	Recording Date
Sweet Slumber	Lucky Millinder, Al J. Neiburg, Henri Woode	January 20 1967
You've Changed	Bill Carey, Carl Fischer	January 20 1967
The Good Life	Sacha Distel, Jack Reardon	January 20 1967
Stardust	Hoagy Carmichael	January 20 1967
Side Two
What Will I Tell My Heart	Gordon-Lawrence-Tinturin	January 20 1967
It Might as Well Be Spring	Oscar Hammerstein II, Richard Rodgers	January 20 1967
Sweet And Lovely	Arnheim-LeMare-Tobias	January 20 1967

Liner Notes

At the time of this recording, Lou Donaldson felt that alto saxophonists had been neglecting a certain characteristic of the horn: “the pretty side.” “While exploring the harmonic possibilities,” he said, “they tend to forget the basic sound of the instrument.”

Donaldson’s right to say that is enforced by the fact that he has always practiced what he preached. A player who usually concentrates on the swinging, bluesy side of things, he nevertheless has found time to insert the touching ballad performance at the appropriate moment throughout his career.

This set is a recital of ballads, old and not-so-old, standards, and not-so-standards. The setting is quite different from the one that we have come to expect of Lou over the years. With Wayne Shorter on tenor saxophone, Jerry Dodgion doubling on alto sax and flute, Pepper Adams on baritone saxophone, Freddie Hubbard on trumpet, Garnett Brown on trombone, McCoy Tyner on piano, Ron Carter on bass, and Al Harewood on drums, you have what might be termed a big-little band. Certainly, it is a band in the way it handles the fine, functional arrangements of Duke Pearson.

From the time Donaldson came to New York in the early-fifties, he has worked in a small group context. He limned the classic bebop alto-trumpet unison sound with Clifford Brown, both in his own group and with Art Blakey. Later it was Bill Hardman who supplied the trumpet in Lou’s quintet. In the sixties, Donaldson alternated between piano and organ in his groups. “The organ gives a big sound,” he told me, “but it’s not like the horns.”

Lou’s band experience goes back to a U.S. Navy dance orchestra that he played in during World War II. He has never forgotten the valuable lesson that he learned by blending, as part of a saxophone section, with an entire band. His own sound benefited from the experience, as did his subsequent work with one or more horns in the front line.

When Charlie Parker came on the scene in the mid-forties, Lou was one of the many that he influenced. But before that, it was Johnny Hodges that had captured Donaldson’s ears. Lou used to play the songs that Hodges played, such as “Passion Flower.” Today, you can hear both Hodges and Parker in Donaldson’s style, but as an absorbed, personal expression. The sound and style serve him well in successfully executing the music in this album. The opener is Lucky Millinder’s hit of the early-forties, “Sweet Slumber.” Lou states the melody at the beginning and end with the kind of sensitive reading that is jazz even if it is not a radical departure from the theme as written. Solos of a more improvisational nature are delivered sweetly, but not sleepily, by Shorter, Hubbard, and Tyner.

McCoy has an interlude in "You've Changed," the Carl Fischer standard. Otherwise it is all Lou, investing it with the right amounts of sadness, heartache, and other aspects of lost love. He reminded me so much of a singer that I mentioned Billie Holiday’s version from her Lady in Satin album. “I listened to that album for a week before I recorded this session’ Lou confided. It is with good reason that this highly critical saxophonist feels very happy with this track.

Dodgion’s flute introduces "The Good Life,” the ballad by French guitarist Sascha Distel. Jerry’s obligato backs Lou’s melody chorus, after which the altoist takes off on a typical Donaldson flight of intelligent embellishment before restating the theme and noodling into a board fade.

Hoagy Carmichael’s ‘Stardust” begins with its seldom-heard verse. Then Lou clearly lines out the lovely chorus in forceful, gorgeous tone, ending with a quote from “Rhapsody in Blue” before returning to the verse.

Side Two commences with “What Will I Tell My Heart,” an oldie that hasn’t been heard for some time. Lou plays this plaintive lament smoothly, getting into a bluesy groove in the improvised section.

Rodgers and Hammerstein’s "It Might As Well Be Spring” is on evergreen that has been tackled by many great singers and instrumentalists. Here the song and the artist complement each other, with Lou adding a few new twists and turns along the way. He is helped briefly by a solo from Tyner.

The closer is a song most often associated in modern jazz with Thelonious Monk. Gus Arnheim’s “Sweet and Lovely” is still sweet — and lovely — after oil these years. Lou is loose and bluesy, and Hubbard takes up where he leaves off.

In talking about Billie Holiday’s recording of “You’ve Changed,” Donaldson went on to say how much he enjoys certain vocalists for their inspired ballad readings. Besides Lady Day, he claims Dinah Washington and Carmen McRae as two of his favorites, saying “They are just like musicians.” True. Conversely, in this album, Lou shows that he is quite a “singer.”

— IRA GITLER

LT-1028

Lou Donaldson - Midnight Sun

Released - 1980

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, July 22, 1960
Lou Donaldson, alto sax; Horace Parlan, piano; George Tucker, bass; Al Harewood, drums; Ray Barretto, congas #1-5,7.

tk.2 The Squirrel
tk.5 Si Si Safronia
tk.6 Dog Walk
tk.7 Exactly Like You
tk.10 Avalon
tk.12 Midnight Sun
tk.13 Candy

Track Listing

Side One
Title	Author	Recording Date
Candy	Kramer-Whitney-David	July 22 1960
Midnight Sun	Mercer-Hampton-Burke	July 22 1960
Avalon	Jolson-De Sylva-Rose	July 22 1960
Side Two
The Squirrel	Tadd Dameron	July 22 1960
Si Si Safronia	Lou Donaldson	July 22 1960
Exactly Like You	Dorothy Fields, Jimmy McHugh	July 22 1960
Dog Walk	Lou Donaldson	July 22 1960

Liner Notes

LOU DONALDSON

"When I was coming up, you were expected to play with all the bands."

That was Lou Donaldson expressing a certain disdain for the instant star syndrome surrounding many of the younger musicians today. When Lou arrived in New York (at the age of twenty-three), gigs were scarce and even sideman jobs in jazz were not easy to come by. But within a short period of time, Lou had recorded with the likes of Milt Jackson, Clifford Brown, Thelonious Monk, Art Blakey, and Gene Ammons. He also paid a lot of R&B dues in the early 50s, but by 1952 he was a Blue Note artist.

Except for a three year stay with Cadet Records in the mid-60s, Lou was a Blue Note artist until 1975. In many ways he was synonomous with Blue Note. Whether it was 50s bebop or 60s soul jazz that Blue Note was into, Lou was there with some of the best of it. He was also instrumental in bringing musicians such as Grant Green, Horace Parlan, and John Patton to the label.

But the music that perhaps best expresses Lou's personal side is the sessions he did with piano and conga drums. These sessions always had a light airy groove to them and the ebullient Donaldson personality was allowed to flow through without upsetting anyone's preconceived notions as to what the music should sound like.

Because of the fact that Lou did play with all the bands, his music has always been eclectic in a happy, most positive way. It is hard to remember now, but the alto players of the 1940s were a unique and diversified lot. It is easy to think of Charlie Parker as the only alto player of the era because of the wide-ranging effects of his influence, but in reality the alto players of the era were all distinctive players. Johnny Hodges, Benny Carter, Willie Smith, Hilton Jefferson, Tab Smith, Earl Bostic, Pete Brown, Louis Jordan (to name some of the most prominent players) were all in the ears of Lou before he heard Bird. To his credit, he has always kept an extremely warm sound and a book of interesting older melodies. Any musician who has ever played with Lou for any length of time has remarked on his ability to come up with the damnedest tunes!

To these basic traits add a strong affinity for the blues and an ability to swing regardless of what he is playing and you have a pretty fair picture of this talented musician.

There is another facet to Lou Donaldson that is seldom mentioned, but is important to put this music in perspective. Lou is a professional musician who works clubs steadily. He is a pro in the sense that his bands always look the part in terms of their dress and bandstand attitude. There are never any raggedy cats in Lou's groups. And with an ear to what current trends will make his music more attractive to his audience, Lou is quick to tell which way the wind is blowing.

In 1960 it was easy for Lou to see that the Hammond organ was becoming a popular attraction in the places he played. Shortly after this session was made, Lou went to the organ sound for his own group. It was a successful sound for him for fifteen years and a lot of very good organists came out of Lou's band, including Billy Gardner, John Patton, Lonnie Smith, Charlie Earland, Leon Spencer, and Caesar Frazier. That in itself might be one reason that Blue Note kept this excellent music on the shelf for so long, but then, at the end of 1960, Lou brought Grant Green back to New York with him! The combination of organ plus Grant was probably the reason that Here 'Tis (Blue Note 84066) — cut just six months after this session — was issued instead.

Lou would record four of these tunes later. 'Candy" and "Avalon" were on his Gravy Train LP (Blue Note 84079) with similar instrumentation but, except for Ben Tucker, different personnel. This "Candy" is more up and doesn't have the intro in 2/4 as the later version did. Midway through his solo, Horace Parlan begins to conduct a revival meeting and sets a beautiful groove. Tucker who was one of the great walking bass players prior to his retirement gets a taste here before Lou returns.

Lionel Hampton's "Midnight Sun" is seldom heard by horn players, but as Lou ably demonstrates, it is a natural. Nice Tucker here.

The treatment of "Avalon" is not all that different from the Gravy Train version except that, like "Candy," it is better Lou really has the pots on here. Horace Parlan is a ball every time out on the album, and his work here is an example of firm, swinging piano. Tucker and Harewood have their innings before Lou and Ray Barretto throw a chorus back and forth.

Inclusion of Tadd Dameron's "The Squirrel" and Lou's "Dog Walk" continues Donaldson's reputation as an animal lover. Who could forget such favorites as "Goose Grease," "Calling All Cats," "Hog Maw," "Donkey Walk', "Snake Bone," "Turtle Walk," "Hot Dog," "Fried Buzzard," "Sow Belly Blues," and the immortal "Alligator Boogaloo?" "The Squirrel" gives Harewood and Barretto a chance to work out.

"Si Si Safroniat' like "Midnight Sun',' was recorded for Cadet, but as with all the titles recorded at a later date, these versions are better. The intro and ending of "Safronia" are Latinized, but in between there is straight ahead blowing by Lou and Parlan.

"Exactly Like You" was recorded six months before Gene Ammons hit version (which also featured Ray Barretto), but Lou takes it at medium up tempo where Jug's version was decidedly slower There is some beautiful Lou here.

'Dog Walk" is a groovy lope rather than a leisurely stroll. Parlan really rolls 'em here setting the stage for Tucker and a return to the theme.

When Lou Donaldson returned to Blue Note in 1966, he was firmly into the organ soul groove. He had a string of hit LPs and was playing a lot of R&B tunes. Because of the loudness of the music, he took up an electronic attachment for his saxophone. The electronics may have solved his problem of being heard with a loud band, but it created another problem in that his crystal clear tone was absent from his recordings. Despite the fact that this album was recorded nearly twenty years ago, it is a new release. And it is the first Lou Donaldson album in ten years that doesn't have that electronic saxophone. That fact alone will be a cause for rejoicing among his many fans.

Within the last year Lou has returned to the sound heard here for his in-person performances. He plays a lot less R&B, a lot more bebop and more often than not leaves his electronics off. Thus he starts 1980 the way he started 1960, and if the music he plays this year is as good as the music he plays here, 1980 should be a banner year for Lou Donaldson!

BOB PORTER
Radio Free Jazz, WBGO-FM Radio

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