LP-759

Lou Donaldson – Musty Rusty

Released 1965

Recording and Session Information

Bill Hardman, trumpet; Lou Donaldson, alto saxophone; Billy Gardner, organ; Grant Green, guitar; Ben Dixon, drums
RVG, Englewood, New York, June 3 1965

13974 The Space Walk
13975 Musty Rusty
13976 Hippity hop
13977 Cherry pink and apple blossom white
13978 Ha' Mercy
13979 Midnight Sun

Track Listing

Musty Rusty	Lou Donaldson	June 3 1965
Midnight Sun	Lionel Hampton & J. Francis Burke	June 3 1965
Hipty Hop	Lou Donaldson	June 3 1965
The Space Walk	Ben Dixon	June 3 1965
Ha' Mercy	Lou Donaldson	June 3 1965
Cherry Pink And Apple Blossom White	Marcel Agerson, Mack David, Luis Gugliemi	June 3 1965

Liner Notes

DURING the history of jazz, many artists have come and gone. On the current scene only a select few from the late Forties clan are still active and popular and one of the main reasons is that these men have so much to offer both jazz and non-jazz listeners. This is particularly true of Lou Donaldson. Lou's lyrical style. original sound and ability to appeal to a varied audience is once again demonstrated in MUSTY RUSTY, his fourth Argo album. It is a foot-tappin', soul-stirring record, full of drive, swing and musical creativity.

When I write about Lou Donaldson, I feel that I can do so with some authority. because I speak as a long-time friend and fellow musician. I have been a fan of the man and his music from the release of his first album. I was around during the evolution of this great sound and now you, the listener. are hearing it at its greatest maturity. You are the important judge at this time, so let's give the album a listen-to. If you are not now a Donaldson fan, I believe that you will join the crowd after hearing MUSTY RUSTY.

The first track Of the album is the title tune — a Lou Donaldson original. Lou and the very capable trumpeter Bill Hardman set the theme and then Lou leads off with about five exciting choruses to set the groove and lead the way for a very young and new talent on the organ named Billy Gardner. I'm sure that after you hear his solo you will agree that he will be heard from again and again. After Billy swings his way through the blues, Grant Green, one of the greatest jazz guitarists on the current scene, takes charge and leads you through several "boss" choruses. After the sermon by Grant, we just fade away quietly.

Midnight Sun, a Lionel Hampton original, really gets the Lou Donaldson melodic touch. It is soulful, pretty and very warmly complimented by a Grant Green solo that leads you back to the last statement by Lou. This is a must for listening delights.

As they say in the "soulville" of every city, "This is it. Baby"! Hip-swinging, finger-poppin', or any thing else you want to call it, can very easily be applied to Lou's composition, Hiply Hop. Lou, Bill Hardman, Grant Green and Billy Gardner swing from beginning to end.

Five-four-three-two-one-and side two blasts off with Space Walk, an original composition by Ben Dixon, the drummer in the group. The theme is taken by Bill and Lou with an off beat syncopation by Grant Green and Billy Gardner to set the orbiting mood. Then Lou goes into orbit, followed by Bill on trumpet and then Grant Green. After walking and swinging in space, the crew makes a perfect landing and everything is A-OK.

Ha' Mercy makes you think of Lightning Hopkins, Kansas City, New Orleans, and all of those other dimly-lit, smoke-tilled rooms with blues singers feeling the spirit and making up the words as they go along. Alto and trumpet set the theme to let you know where it's at and then Lou plays two choruses to let you know what it's all about. Billy Gardner then ignites the electronic tubes to tell his story, and last but not least, Grant Green lets you know that words do not have to be spoken or sung to convey this type of message. Ha' Mercy!

Cherry Pink and Apple Blossom White is a tune that has been around for a long time but Lou's originality in phrasing and sound breathes new into this interpretation. Lou leads off with the melody, then he is joined by Bill Hardman in the middle of the tune. Then Lou has the final eight bars by himself. As on all the other tracks in this album, the soloists all come through with flying colors.

—Warren Stephens

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

LP-734

Lou Donaldson – Possum Head

Released 1964

Recording and Session Information

Bill Hardman, trumpet; Lou Donaldson, alto saxophone; John Patton, organ; Ray Crawford, guitar; Ben Dixon, drums; Cleopas "Mopedido" Morris, conga
United Recording Studio, Los Angeles, January 28 1964

12963 Possum head
12964 Secret love
12965 Frenesi
12966 Man with a horn
12967 Persimmon tree
12968 Midnight soul
12969 Bye bye, blackbird
12970 Laura

Track Listing

Possum Head	Lou Donaldson	January 28 1964
Secret Love	Fain & Webster	January 28 1964
Midnight Soul	Lou Donaldson	January 28 1964
Bye Bye Blackbird	Henderson & Dixon	January 28 1964
Laura	D. Raskin	January 28 1964
Persimmon Tree	Lou Donaldson	January 28 1964
Frenesi	A. Dominguez & L. Whitcup	January 28 1964
Man With A Horn	DeLange & Lake	January 28 1964

Liner Notes

ACCORDING to Doctor Alyce Gullatte, "The possum's growth is a mysterious saga of development. There is no animal to whom wit and cunning have been more attributed than to the opossum, more affectionately known as the possum. From the very beginning his existence and survival have been dependent upon his making the right move. in the right direction. at the right time. It is small wonder then that the term 'to play possum' implies the utilization of survival techniques that have become a part of the 'possum personality', such as cunning, finesse and possum sense".

Lou Donaldson is affectionately called "Possum Head" because of his musical cunning, finesse, possum sense and according to some — a physical resemblance. "Playing Possum", however, means to play dead and where Lou is concerned, nothing could be further from reality. By his "musical cunning" and "possum sense", Lou has managed to look and keep very much alive in the fiercely competitive jazz jungle for about fifteen years.

With the exception of guest artists Ray Crawford and "Mopedido" the personnel on this album represents the group that Lou Donaldson has kept working on a very regular basis for the past two years. They work because they play a "commercial" brand of jazz that their audiences find easy to relate to and enjoy.

The music in this album is indicative of the music that Lou plays for his audiences in clubs throughout the country. He can excite a crowd to spontaneous shouts with a heavily rhythm-and-blues flavored number and then lull them into reverie with the likes of the tender ballad Laura.

Throughout this album there is a high level of individual performance. Lou plays with even more than his usual dexterity and assurance and Bill Hardman, Ray Crawford and John Patton contribute excellent solos and ensemble support. Ben Dixon gives a rock steady foundation to the rhythm and conga drummer, "Mopedido" gives an extra lilt to things without being obstrusive.

When we received our advance copy of POSSUM HEAD we put it on the turntable with real anticipation, because a new Lou Donaldson, album is always a pleasant listening event. We weren't disappointed and you won't be either.

—AL CLARKE
Radio Station WOOK
Washington, D. C.

LP-724

Lou Donaldson - Signifyin'

Released 1963

Recording and Session Information

Tommy Turrentine, trumpet; Lou Donaldson, alto saxophone; Big John Patton, organ; Roy Montrell, guitar; Ben Dixon, drums
A & R Recording Studios, New York, July 17 1963

12553 Bossa nova [Lou's new thing]
12554 Signifyin'
12555 I feel it in my bones
12556 Time after time
12557 Coppin' a plea
12558 Don't get around much anymore
Si si Safronia

Track Listing

Signifyin'	Lou Donaldson	July 17 1963
Time After Time	Jules Styne & S.K. Russell	July 17 1963
Si Si Safronia	Lou Donaldson	July 17 1963
Don't Get Around Much Anymore	Duke Ellington & S.K. Russell	July 17 1963
I Feel It In My Bones	Lou Donaldson	July 17 1963
Coppin' A Plea	Lou Donaldson	July 17 1963

Liner Notes

DURING the course of a conversation had recently with a leading jazz musician we got to talking about a certain rather new element on the jazz scene. This new faction consists of guys who earned their names as jazz musicians but who, with fame, have abandoned the jazz part of their music. And this is not a reference to the freedom movement in jazz. Rather, the reference is made to another group whose music to many listeners is beyond the jazz realm, yet palmed off as jazz. It represents a transcension of roots as if there were an aura of shame attached to the basic elements of jazz.

As our conversation continued this musician also bemoaned the fact that with this "sididdification" of jazz much of the fun and enjoyment is leaving the music. Also he mentioned that very little, if any, jazz was being played to which people could dance. Years ago, he reminisced, you could listen to jazz and in many cases, if moved, you could get up and dance to it.

I stored these bits and pieces of that conversation in my mind. I didn't even think about our talk until I was asked to write the liner notes for this album. Then it struck me that everything my friend and had complained about on the current jazz s«ne Lou Donaldson was able to remedy.

Lou is representative musically of the root conscious fifties, an era in which there vas a re-affirmation of the basics of jazz. Within this particular framework Lou constantly carries jazz to the people that is totally enjoyable, at times danceable, at all times good solid jazz.

There is a tendency in some jazz circles to put down that in jazz which is commercially successful. Rather, it appears, we should be thankful, those of us who earn our livelihood in jazz, that there are guys like Lou Donaldson who carry jazz on a mass scale to that single most important element...the audience. And just something is commercially successful doesn't rnean that it is not musically valid. Rather, it seems that the Lou Donaldsons have found the formula whereby they can play jazz that is universally appealing and also valid musically.

It's interesting to go into a club where Lou is appearing, or even to a house party where Lou's recordings are being played, and watch how the people react to the music. There's finger poppin', foot tappin' and most important — lots of smiling and laughing. Its very simple to get caught up in the staples of Lou's style; the catchy riffs, the driving organ and drum accompaniment. etc. This is the music that keeps jazz alive it sells records, fills clubs, and most important, it keeps jazz alive as a business and so that it can stay on its feel as an art form.

This album marks Lou's debut on Argo records. In it he does what he has been doing for years on records, only better. There are the jump numbers, ballads, even a touch of bossa nova, but the pervading element is the Lou Donaldson sound. If I wanted I could cite my favorite cut on the album or tell you that such and such is a blues in F, but really what would be the point. Lou's is not music to be dissected. It's music to be enjoyed.

Joel Dorn
WHAT-FM
Philadelphia