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CD |
Kérjen
árajánlatot! |
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| 1. | Musty Rusty
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| 2. | Midnight Sun
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| 3. | Hipty Hop
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| 4. | Space Walk
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| 5. | Ha' Mercy
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| 6. | Cherry Pink and Apple Blossom White
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| 7. | Greasy Papa
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| 8. | Tangerine
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| 9. | Wig Blues
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| 10. | Blues No.3
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| 11. | Win, Lose or Draw
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| 12. | Be Anything, But Be Mine
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| 13. | Day by Day
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Jazz
Tracks #1-7: "MUSTY RUSTY"
Recorded: June 3, 1965 by Rudy Van Gelder, New York.
With Bill Hardman (tp), Grant Green (g) & Ben Dixon (d)
Tracks #8-13: "AT HIS BEST"
Recorded: August 30, 1965, New York
Lou Donaldson, Billy Gardner, Bill Hard-man (tp), Calvin Newborn (g) & Grady Tate (d)
This CD contains Lou Donaldson & Billy Gardner's complete studio collaborations, consisting of two 1965 albums in their entirety: "Musty Rusty" and "At His Best". For the first time ever on CD. Includes 12-page comprehensive booklet.
"Despite the respect accorded to him by contemporary musicians and fans in the know, organist Billy Gardner remains one of the most underrated jazz musicians for a player of his calibre. This is primarily due to the brevity of his career, which was cut short by Gardner's premature death caused by an asthma attack in Chicago during the '70s. The organist's sparse discography consists of only 13 different live concert or studio sessions recorded between 1960 and 1968, of which his sessions with Donaldson are among his best."
This remastered two-fer assembles a pair of LPs cut for the Cadet label by saxophonist Lou Donaldson alongside organist Billy Gardner. Although issued on Cadet, 1965's Musty Rusty follows in much the same vein as Donaldson's previous LPs for Blue Note -- credit reunions with the brilliant guitarist Grant Green and the underrated drummer Ben Dixon for the seamless transition, and even if Gardner can't quite yet fill the shoes of longtime Donaldson foil Big John Patton, the set's soulfulness and creativity still demand attention. Trumpeter Bill Hardman completes the lineup, which comfortably settles into a tight, focused groove with the opening "The Space Walk" and never lets up -- Donaldson originals like "Hippity Hop" and the title crackle with energy, and the melodic ingenuity of Green's guitar solos astounds. The title of 1966's At His Best portends some kind of career overview, but in fact it's an all-new session heralding the end of Donaldson's Cadet tenure -- moreover, it comes nowhere close to capturing the saxophonist at his most potent, settling for a rigid, disappointingly straightforward soul-jazz approach with few sparks of energy. Despite an intriguing cast of characters including, trumpeter Hardman, guitarist Calvin Newborn and the great drummer Grady Tate, the music is less than the sum of its parts -- Gardner is nevertheless at the peak of his immense talents here, proving himself a worthy successor to Patton's inimitable groove. ~ Jason Ankeny, All Music Guide
Lou Donaldson
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Nov 01, 1926 in Badin, NC
Genre: Jazz
Styles: Bop, Soul-Jazz, Hard Bop, Jazz Blues, Mainstream 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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