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| 3.796 Ft
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| 1. | Funky Mama
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| 2. | Love Walked In
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| 3. | Spaceman Twist
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| 4. | Sow Belly Blues
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| 5. | That's All
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| 6. | Nice 'N Greasy
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| 7. | People Will Say We're In Love
Bonus
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Jazz / Soul-Jazz
Hard Bop
Recorded: May 9, 1962
Lou Donaldson: Alto Saxophone
Tommy Turrentine: Trumpet
Grant Green: Guitar
John Patton: Organ
Ben Dixon: Drums
One of the first albums with the great Green-Patton-Dixon rhythm section, this soulful album introduced John Patton's Funky Mama which remains a staple among blues bands. The extended Sow Belly Blues is sublime Lou.
The RVG Series consists of Classic Blue Note Albums newly remastered in 24-bit by the original engineer, legendary Rudy Van Gelder, with state-of-the-art equipment.
Essays by Bob Blumental supplement the original liner notes and new Francis Wolff photographs from the original sessions have been added. Reissues produced by Michael Cuscuna.
The Natural Soul finds Lou Donaldson delving deeply into soul-jazz; recording a set of funky, greasy instrumentals with only a few references to hard bop. Donaldson occasionally sounds a little awkward with the relaxed groove of The Natural Soul, as does trumpeter Tommy Turrentine, but the trio of guitarist Grant Green, organist Johnny Patton, and drummer Ben Dixon, keep things cooking. Green and Patton's solos often burn and are always invigorating, and Lou frequently matches their heights. The original compositions, which form the bulk of the album, aren't much more than blues and soul vamps, but they provide an excellent foundation for the combo to work hot grooves. And, in the end, that's what The Natural Soul is about: groove. It maintains the high standards Donaldson established with his first soul-jazz foray, Here 'Tis, and remains one of his best records in that genre.
---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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