Lou Donaldson - Fourteen Classic Albums: 1953-1962 (2014)
Artist: Lou Donaldson
Title: Fourteen Classic Albums: 1953-1962
Year Of Release: 2014
Label: Tritone
Genre: Jazz
Quality: FLAC (tracks) / MP3
Total Time: 8:51:35
Total Size: 3.19 / 1.19 GB
WebSite: Album Preview
Tracklist:Title: Fourteen Classic Albums: 1953-1962
Year Of Release: 2014
Label: Tritone
Genre: Jazz
Quality: FLAC (tracks) / MP3
Total Time: 8:51:35
Total Size: 3.19 / 1.19 GB
WebSite: Album Preview
01. Carvin' the Rock
02. You Go to My Head
03. De-Dah
04. Brownie Speaks
05. Cookin'
06. Bellarosa
07. If I Love Again
08. Down Home
09. The Best Things in Life Are Free
10. Lou's Blues (1953)
11. Cheek to Cheek
12. Sweet Juice
13. The Stroller
14. Roccus
15. Caracas
16. Moe's Bluff
17. Caravan
18. Old Folks
19. That Good Old Feeling
20. Move It
21. There Is No Greater Love
22. L.D. Blues
23. Dorothy
24. I Won't Cry Anymore
25. Herman's Mambo
26. Peck Time
27. There'll Never Be Another You
28. Groove Junction
29. Grits and Gravy
30. Soft Winds
31. Hollerin' and Screamin'
32. Round Midnight
33. Star Eyes
34. Darn That Dream
35. Street of Dreams
36. Cha Cha J
37. Sputnik
38. Dewey Square
39. Strollin' In
40. Groovin' High
41. Blues Walk
42. Move
43. The Masquerade Is Over
44. Play Ray
45. Autumn Nocturne
46. Callin' All Cats
47. Light-Foot
48. Hog Maw
49. Mary Ann
50. Green Eyes
51. Walking by the River
52. Day Dreams
53. Stella by Starlight
54. Three Little Words
55. Smooth Groove
56. Just Friends
57. Blue Moon
58. Jump Up
59. Don't Take Your Love from Me
60. Confirmation
61. Lou's Blues (1961)
62. Be My Love
63. Idaho
64. The Nearness of You
65. Mack the Knife
66. Crosstown Shuffle
67. Tangerine
68. Blues for J.P
69. The Man I Love
70. Politely
71. It's You or No One
72. The Truth
73. Goose Grease
74. Softly as in a Morning Sunrise
75. A Foggy Day
76. Here 'Tis
77. Cool Blues
78. Watusi Jump
79. Walk Wid Me
80. Gravy Train
81. South of the Border
82. Polka Dots and Moonbeams
83. Avalon
84. Candy
85. Twist Time
86. Glory of Love
87. Funky Mama
88. Love Walked In
89. Spaceman Twist
90. Sow Belly Blues
91. That's All
92. Nice 'N' Greasy
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 throughout 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 '50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-'50s 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. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). 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
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 '50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-'50s 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. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). 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