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Kérjen
árajánlatot! |
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| 1. | Caravan
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| 2. | Old Folks
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| 3. | That Good Old Feeling
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| 4. | Move It
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| 5. | There Is No Greater
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| 6. | L.D. Blues
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Jazz / Bop, Hard Bop
Lou Donaldson - Sax (Alto)
Art Taylor Drums
Donald Byrd Trumpet
Herman Foster Piano
Peck Morrison Bass
24 bit digitally remastered Japanese reissue of 1955 albumfor Blue Note by the genius jazz alto sax player in aminiaturized LP sleeve limited to the initial pressing only.Six tracks. The All-Music Guide gave 'Wailing With Lou' fourout of five stars.
Wailing With Lou is an appropriate title for this enjoyable set of straight-ahead bop. Whether he's riding the propulsive rhythms of "Caravan" or settling down into a ballad, Donaldson takes the center stage with his surprisingly full alto tone. He still displays a clear Charlie Parker influence, but he is beginning to break free and develop his own style. In particular, he relies on bluesy runs more than Bird, which give his music a soulful edge. But what makes Wailing With Lou so enjoyable is the hot interplay between Donaldson, trumpeter Donald Byrd, pianist Herman Foster, bassist Peck Morrison and drummer Art Taylor. All five musicians give enthusiastic, infectious performances. There's nothing out of the ordinary here -- just hard-driving bop and sensitive ballads, which are sure to please fans of the style. ~ Stephen Thomas Erlewine, 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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