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Kérjen
árajánlatot! |
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| 1. | Sweet Slumber
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| 2. | You've Changed
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| 3. | The Good Life
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| 4. | Star Dust
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| 5. | What Will I Tell My Heart
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| 6. | It Might as Well Be Spring
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| 7. | Sweet and Lovely
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Jazz / Ballads
Recorded: Jan 20, 1967, Van Gelder Stuio, Englewood CLiffs, New Jersey
Lou Donaldson - alto sax
Jerry Dodgion - alto sax, flute
Wayne Shorter - tenor sax
Pepper Adams - baritone sax
Freddie Hubbard - trumpet
Garnett Brown - trombone
McCoy Tyner - piano
Ron Carter - bass
Al Harewood - drums
On this gorgeous album, one of Donaldson's favorites, his alto soars over an all-star octet arranged by Duke Pearson on seven standards. Wayne Shorter, Freddie Hubbard and McCoy Tyner also contribute solos. This album was readied for release in 1967 when it was recorded, but subsequently shelved when Donaldson's "Alligator Bogaloo" album became a big hit. It was first issued in 1980.
After brief sojourns at Argo and Cadet, Lou Donaldson marked his 1967 return by recording Lush Life, the grandest project he ever attempted. With its plush arrangements and unabashedly pretty melodies, Lush Life stands in stark contrast to everything else he cut in the '60s. There are no blues, no stabs at soul-jazz grooves, no hard bop -- only sweet, sensitive renditions of romantic standards. Donaldson shone on ballads before, but it's nevertheless surprising how successful he is on this set of slow love songs. His tone is full and elegant -- it's easy to get lost in his rich readings of these familiar melodies, as well as his slyly seductive improvisations. Of course, it helps that his instrumental backdrops are as lovely as those his nine-piece backing band provide. Nonets are unwieldy, to be certain, but Duke Pearson's arrangements are clean, sparkling, and attractive, and the superstar band -- Wayne Shorter (tenor sax), Jerry Dodgion (alto sax, flute), Pepper Adams (bari sax), Freddie Hubbard (trumpet), Garnett Brown (trombone), McCoy Tyner (piano), Ron Carter (bass), Al Harewood (drums) -- knows enough to provide sympathetic support and not steal the show. When they do take solos, it enhances Donaldson's original statements, and helps make Lush Life the singularly enchanting record it is.
---Stephen Thomas Erlewine, AMG
Lou Donaldson
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Nov 01, 1926 in Badin, NC
Genre: Jazz
Styles: Bop, Hard Bop, Jazz Blues, Mainstream Jazz, Soul-Jazz
Lou Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets through the years.
Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the 1950s and occasionally afterwards with Thelonious Monk, Milt Jackson and Jimmy Smith, among others, he has been a bandleader from the mid-1950s up until the present.
Donaldson's early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961 his bands often had an organist rather than a pianist. Donaldson's bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-63) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-66). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of "Alligator Boogaloo" in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent.
However, after a few years off records, Lou Donaldson's artistic return in 1981 and subsequent soul-jazz and hard bop dates for Muse, Timeless and Milestone have found the altoist back in prime form, interacting with organists and pianists alike and showing that his style is quite timeless.
---Scott Yanow, All Music Guide |
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