LP-747

Lou Donaldson - Cole Slaw

Released 1965

Recording and Session Information

Lou Donaldson, alto saxophone; Herman Foster, piano; Earl May, bass; Bruno Carr, drums; Ray Barretto, conga
RCA Recording Studios, New York, June 19 1964

13287 O sole mio
13288 Cole slaw
13289 Poinciana
13290 Soul gumbo
13291 There is no greater love
13292 People will say we're in love
13293 Li'l miss Fine
13294 Skylark

Track Listing

There Is No Greater Love	Isham Jones/Matty Symes	June 19 1964
Poinciana	Nat Simon/Buddy Bernier	June 19 1964
Cole Slaw	Jessie Stone	June 19 1964
People Will Say We'Re In Love	Rodgers/Hammerstein II	June 19 1964
Li'L Miss Fine	Lou Donaldson	June 19 1964
O Sole Mio	Arr. Lou Donaldson	June 19 1964
Skylark	Hoagy Carmichael/John H. Mercer	June 19 1964
Soul Gumbo	Lou Donaldson	June 19 1964

Liner Notes

THE ALTO SAXOPHONE, until Charlie Parker came along, was considered to be the exclusive property of Johnny Hodges. Ever since the era of Bird, however, more and more practitioners have sought to make this difficult instrument the one on which they've tried to express their musical opinions. There are as many styles as there are musicians, but only a handful have really stuck to the line that the genius of modern music laid down. Of that handful, two major artists have survived the many musical changes that have befuddled the lesser talents, One of them is Sonny Stitt. The other is the featured artist of this album, Lou Donaldson!

Lou Donaldson first burst upon the recorded scene in the late '40's as featured hornman with Milt Jackson on some Blue Note 78's, including the memorable "Bag's Groove". With were some very top flight musicians — John Lewis, Percy Heath, and Kenny Clarkc — indeed, the first version of the reknowned Modern Jazz Quartet. Those recordings made a lasting impression, and signalled the jazz world that Lou Donaldson was here te stay. Lou has made many fine albums on his own since that time, including his two Argo releases, "SIGNIFYIN'" #724, and "POSSUM HEAD' #734. I'm of the opinion that this one is the swinginest and most musical of them all. For Lou exhibits herein his particular talent of getting right to the meat and marrow of the selections plaed. This talent, quiet as it's kept, has permitted Lou Donaldson to be one of the musicians around. Because of this highly rhythmical and straightforward approach to Jazz, Lou has been able to reach and satisfy a much wider audience than most of his contemporaries who are more likely than not chained to a particular hit tune, gimmic sound, or far-out style. His travelling group usually includes organist John Patton and the excellent trumpeter Bill Hardman. For this album, however, Lou is accompanied and wonderfully aided by a really fine rhythm section, headed by pianist Herman Foster. Herman's comping and solo work is very outstanding, and his locked-hands style is perfect for the kind of groove laid down for this session. Bassist is Earl May, who unobtrusively but firmly keeps the melodic beat where it should be and walks mightily on several numbers. Bruno Carr proves to be a drummer of exquisite taste, regardless of the tempo or style being used. Congero Ray Barretto is added for the latin touches.

Side one opens with a tune that's great to blow — the standard "THERE IS NO GREATER LOVE". A bongo-type beat sets the groove for Lou who sings out the pretty theme, after which Foster's piano lays into the beat with May's bass walking along and really digging in behind Lou's solo. It's a real head shaker!

"POINCIANA" is latinized all the way, with the piano solo coming on in true south-of-the-border style.

"COLE SLAW", the album's title tune, was known as "Sourghum Switch" during the "swing era", and later recorded by Louis Jordan as "COLE SLAW'". Its rhythmic pattern is back-beat-ish and it has a happy dance tune feel to it.

"PEOPLE WILL SAY WE'RE IN LOVE" is in medium-up tempo with Lou jumping right into the melody with another outstanding solo, followed by a delightful piano offering with May's pulsating throughout the happy proceedings.

"L'IL MISS FINE" opens side two in the traditional Kansas City blues style that first made Charlie Parker a musician. On the second chorus Lou really gets to stomping, after which Foster gets to rockin', and the rhythm section goes right with him. Earl May's only bass solo of the set one wonderful structure and great taste.

Neapolitan nighs are not particularly brought to light with Lou's treatment of the older-than-old "O SOLE MIO", but the tune does lend itself to produce one of the finest solos he's ever recorded.

"SKYLARK", played nearly straight, exhibits the singing, straight-forward style previously mentioned as being one of Lou's oustanding assets.

And the final tune, "SOUL GUMBO", is a stompy little riff-type item that's almost "twisty".

With albums of this swinging quality, and his audience-pleasing, in-person appearances throughout the country leading the way, it fairly certain that LOU DONALDSON, as the title on another of those early 78's states, definitely remain "On The Scene" for a long time to come. His music is ageless!

Joe Segal