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Kérjen
árajánlatot! |
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| 1. | Possum Head
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| 2. | Secret Love
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| 3. | Midnight Soul
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| 4. | Bye Bye Blackbird
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| 5. | Laura
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| 6. | Persimmon Tree
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| 7. | Frenesí
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| 8. | Man with a Horn
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| 9. | Signifyin'
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| 10. | Time After Time
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| 11. | Si Si Safronia
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| 12. | Don't Get Around Much Anymore
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| 13. | I Feel It in My Bones
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| 14. | Coppin' a Plea
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Jazz
Recorded:
* Tracks 1-8: Possum Head: January 28, 1964, Los Angeles
* Tracks 9-14: Signifyin': July 17, 1963, New York
Lou Donaldson - Sax (Alto)
Big John Patton - Organ
plus:
Tracks 1-8: Possum Head:
Bill Hardman - Trumpet
Ray Crawford - Guitar
Ben Dixon - Drums
Cleopas "Mopedido" Morris - Congas
Tracks 9-14: Signifyin':
Tommy Turrentine Jr. - Trumpet
Roy Montrell - Guitar
Ben Dixon - Drums
* Al Clarke - Liner Notes
* Joel Dorn - Liner Notes
These two Lou Donaldson sets were recorded for Argo/Cadet (Chess subsidiaries) in 1963 and 1964, respectively, at the very beginning of his four-year break with Blue Note. Donaldson left after Good Gracious in early 1963, and returned in 1967 with Lush Life. He recorded seven records during his period with Argo/Cadet including Fried Buzzard, Cole Slaw, Musty Rusty, and this pair. Both starred John Patton on the B-3, and both are gritty, in-your-face soul-jazz dates. Signifyin' does contain a pair of standards in Sammy Cahn's "Time After Time," and a souled out reading of Duke Ellington's "Don't Get Around Much Anymore." The rest are all Donaldson groovers; pure meat and potatoes grease, including the classic "Coppin' a Plea," which is an excellent showcase for Patton. The other players on this date weren't slouches either: drummer Ben Dixon, trumpeter Tommy Turrentine, and guitarist Roy Montrell. Possum Head was recorded and released in 1964, with Patton, Dixon, and Bill Hardman, as well as percussionist Cleopas "Mopedido" Morris. The attack is a bit more diverse, ranging from the smoking, groove-heavy title track and "Persimmon Tree," both written by the leader, and readings of "Bye Bye Blackbird," Ben Webster's breezy "Secret Love," David Raskin's "Laura," and the spunky Latin workout "Frenesi." Donaldson also contributes a ballad called "Midnight Soul." There isn't anything groundbreaking about these records. They are rawer than the Blue Note sides preceding them, and move from hard bop more toward rhythm & blues and the emerging soul-jazz tide that Donaldson would succeed with so dramatically at Blue Note beginning in 1967. That said, these are thoroughly enjoyable records and bear repeated listening for pleasure. Period.
---Thom Jurek, 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, 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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