Lou Donaldson • Birdseed

 

Review by Alex Henderson

Like fellow alto saxophonists Phil Woods, Jackie McLean, Frank Morgan, Ernie Henry, and Sonny Criss, Lou Donaldson started out with a very Charlie Parker-like tone but went on to develop a recognizable sound of his own. Bird's influence never disappeared from Donaldson's playing, although he successfully combined that influence with many ideas of his own. The title Birdseed might lead some to wonder if this 1992 date is a tribute to Parker -- it isn't, and the CD doesn't contain any Parker songs at all. However, that title is Donaldson's way of acknowledging Parker's tremendous contributions. (Producer Orrin Keepnews put it best when he said that there are basically two types of jazz: before and after Charlie Parker). Though the uptempo title song has a very Bird-like melody, it is Donaldson's own ideas that make this album as appealing as it is. From the Johnny Hodges-minded ballad "Dorothy" (written by singer Rudy Nichols) to earthy blues statements on Gene Ammons' "Red Top" and Eddie "Cleanhead" Vinson's "Back Door Blues," Birdseed finds Donaldson in fine form at 65. The CD's most surprising track is "Pennies From Heaven," which has usually been heard at a fast or medium speed in recent decades but is returned to a ballad tempo by Donaldson (who is joined by organist David Braham, drummer Fukushi Tainaka, percussionist Ralph Dorsey, and the Grant Green-influenced guitarist Peter Bernstein). Produced by Bob Porter, Birdseed falls short of essential but is inspired and swinging.
https://www.allmusic.com/album/birdseed-mw0000093840

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Reseña de Alex Henderson
Como sus compañeros saxofonistas altos Phil Woods, Jackie McLean, Frank Morgan, Ernie Henry, y Sonny Criss, Lou Donaldson comenzó con un tono muy parecido al de Charlie Parker, pero luego desarrolló un sonido propio reconocible. La influencia de Bird nunca desapareció de la música de Donaldson, aunque combinó con éxito esa influencia con muchas ideas propias. El título de Birdseed podría llevar a algunos a preguntarse si esta fecha de 1992 es un tributo a Parker - no lo es, y el CD no contiene ninguna canción de Parker en absoluto. Sin embargo, ese título es la forma que tiene Donaldson de reconocer las tremendas contribuciones de Parker. (El productor Orrin Keepnews lo expresó mejor cuando dijo que hay básicamente dos tipos de jazz: antes y después de Charlie Parker). Aunque la canción del título de Uptempo tiene una melodía muy parecida a la de Birdson, son las propias ideas de Donaldson las que hacen este álbum tan atractivo como es. Desde la balada "Dorothy" de Johnny Hodges (escrita por el cantante Rudy Nichols) hasta las declaraciones de blues terrenal en "Red Top" de Gene Ammons y en "Back Door Blues" de Eddie "Cleanhead" Vinson, Birdseed encuentra a Donaldson en buena forma a los 65 años. El tema más sorprendente del CD es "Pennies From Heaven", que normalmente se ha escuchado a una velocidad rápida o media en las últimas décadas, pero es devuelto a un ritmo de balada por Donaldson (a quien se unen el organista David Braham, el baterista Fukushi Tainaka, el percusionista Ralph Dorsey, y el guitarrista Peter Bernstein, influenciado por Grant Green). Producida por Bob Porter, Birdseed se queda corta en lo esencial pero está inspirada y se balancea.

https://www.allmusic.com/album/birdseed-mw0000093840

 

 

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Tracks:
01. Cherry    [0:04:36.02]
02. Walkin' Again    [0:06:56.70]
03. Pennies From Heaven    [0:06:31.68]
04. Red Top    [0:08:15.27]
05. Blue Bossa    [0:05:47.73]
06. Black Door Blues    [0:05:02.25]
07. Dorothy    [0:05:23.55]
08. Birdseed    [0:06:44.42]


Credits:
Alto Saxophone – Lou Donaldson
Congas – Ralph Dorsey
Drums – Fukushi Tainaka
Guitar – Peter Bernstein
Organ – David Braham


Recorded at Nola Studios, New York City; April 28 and 29, 1992.
Release label: Milestone (4)
Duration 49:21

 

 

 

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