Re: Blues Walk Lou Donaldson Pdf Download
Sacha Weakland
Hello LJC,
I picked up a nice mono copy of blues walk today. I know it is not a first pressing but am having trouble determining what year it was made. It has west 63rd st labels, ear, stamped RVG, Inc and R. 9M side 1 only. Matrix a-1.
DG side 2 only, matrix b. Cover is laminated. 61st st address on rear cover.
Now it has a 27 years blue note inner sleeve which I am thinking may have been switched. Any ideas what vintage this would be?
Lou Donaldson had already been at the helm of seven Blue Note sessions by the time he made his undisputed masterpiece Blues Walk in 1958. The alto saxophonist quickly became a fixture on the Blue Note scene after he first played on a Milt Jackson date in 1952 with sideman appearance on sessions led by Thelonious Monk, Art Blakey, and Jimmy Smith, as well as a co-led date with Clifford Brown. On Blues Walk, Donaldson reconvened the lineup from his 1957 album Swing and Soul with Herman Foster on piano, Peck Morrison on bass, Dave Bailey on drums, and Ray Barretto on congas. The excellent six-song set yielded one of his most memorable themes with the cool struttin' title track, a laid-back minor blues that opens the album with a standout performance by the leader. Donaldson keeps it bluesy on his tune "Play Ray," showcases his bop chops on uptempo numbers like Denzil Best's "Move" and his own "Callin' All Cats," and delivers stunning renditions of the standards "Autumn Nocturne" and "The Masquerade Is Over."
2.1 The "mood" of the music: Jack Wilson, Easterly Winds; The Three Sounds, Feelin' Good; Stanley Turrentine, Blue Hour; Erroll Garner, Overture to Dawn; Ornette Coleman, Love Call. Obviously, a title like "Easterly Winds" cannot be taken at face value: the album does not offer recordings of winds, blowing from the East or from elsewhere, although such recordings exist for the pleasure of both audiophiles and ecologists. The phrase "easterly winds" is used here in its connotative meaning ("softness") to describe Wilson's quiet, nonaggressive music.
("Easterly Winds" is also one of the song titles, which comes to designate the whole album in synecdochic manner.) Similarly, the sadness that "blue" suggests accords culturally with the slow tunes on Blue Hour, as the idea of "happiness" is inscribed in the fast, bouncing numbers that make up Feelin' Good. As for Love Call, it draws on the associations with "primitivism" that jazz often uses--associations that are justified in this case given the violence and disruptiveness of Coleman's music.
2.2 The genre of the music: Freddie Roach, Mo' Greens Please; Horace Parlan, Headin' South; Jackie McLean, Destination Out. Whereas titles like Boogie-Woogie Classics and Afro-Cuban give direct information about genre, Mo' Greens Please and Destination Out proceed by way of association. In fact, those last titles point to two of the main trends of the 1960s that are abundantly represented in the Blue Note catalog. "Greens" designates metonymically the "funk-soul" style, which is alluded to in several other titles: George Braith, Soul Stream; Lou Donaldson, Gravy Train; Hank Mobley, Soul Station; Jimmy Smith, The Sermon; Don Wilkerson, Preach Brother Preach. As for "Out" in McLean's title, it stands for a "new," "free," "out" kind of jazz (though not for radical "free jazz" in the Albert Ayler-Archie Shepp mold), to which other titles refer in the same oblique fashion: Donald Byrd, Free Form; Joe Henderson, In 'n 'Out; Andrew Hill, Point of Departure; Grachan Moncur, Evolution; Sam Rivers, A New Conception; and especially Jackie McLean, It's Time, Let Freedom Ring, New Soil, One Step Beyond, and Right Now. Connotations, of course, are sometimes ambiguous. "Spring" can thus suggest "freshness," as it is supposed to do when brands of shampoo, perfume, or deodorant are named after this season. But it can also mean "turn" and "reshaping," as it certainly does on Anthony Williams's Spring, a record that features the "new" music of the mid-1960s. More serious ambiguities characterize the titles of McLean's albums. If "it's time," is it "time" for musicians to start playing "out" of the traditional chord structure of the blues and the 32-bar, AABA standard? Is it "time" for all African-Americans to finally obtain their due in such areas as civil rights, jobs, and housing? And can't the two meanings be superposed, "right now" telling when the changes that are required in both the artistic and the social spheres must take place? I shall return to these questions in my conclusion, when I address the subject of the "meaning" that can be conferred upon music.
3.4 A phrase that is linked with the cover art, although it does not play with/on the name of the artist: Donald Byrd, Royal Flush (the cover shows Byrd holding five cards, though toward himself, making it impossible to know whether he actually has a "royal flush"); Sonny Clark, Cool Struttin' (the cover shows a woman stylishly pacing the streets); Lou Donaldson, Blues Walk (the cover shows Donaldson walking); Gil Melle, Patterns in Jazz (the cover shows color patterns--drawn by Melle himself, who at the time was employed by Blue Note both as a musician and a graphic artist); Jimmy Smith, Crazy! Baby (the cover shows a woman in flashy clothes posing next to a luxury sportscar--a Jaguar). Like Good Deal and The All Seeing Eye, titles in 3.3 and 3.4 come as close as possible to being pure "index titles." True, metaphors of height on Byrd in Flight and Lou Takes Off suggest that the quality of the music offered on these records is particularly "elevated." But such worn figures are less likely to attract prospective listeners than the whole concept, which associates verbal and iconographic messages in an engaging manner. Some titles in this category are even misleading, as "cool" in Cool Struttin' (like "blue" in Blue Train) does not describe correctly Clark's music (though the adjective certainly fits the woman's stride), and only two out of the six numbers on Blues Walk are "blues" in the technical sense of the term (a 12-bar structure that follows a specific chord progression). In these instances, too, the point seems to lure potential buyers by combining a catchy title with a high-quality picture, not to supply precise information about the content of the album. Such information, on the Blue Note records, is provided by lengthy, well-documented liner notes, to which inquisitive customers can turn if they want more details concerning the performance.
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Fermilab Arts Series Presents Corky Siegel and Chamber Blues June 26
Is it blues, is it classical? Walking the line between Beethoven and B.B. King and armed with the creative genius and instrumental prowess that have defined his career for nearly four decades, blues harmonica player, and part of the Siegel/Schwall Band, Corky has pioneered an original, genre-busting Chamber blues - a fresh, innovative sound capturing the sparkling qualities of classical music merged with the emotional melodic style of blues, all within an intimate chamber setting. Under Corky's lead, The West End String Quartet and percussionist Frank Donaldson complete the Chamber Blues Band. For more information please visit -10/corky.shtml
Two outs later, Estrada walked a batter on his 94th pitch and was finished. He had allowed four runs and issued four walks. It was the sixth time in his past eight starts that he failed to finish six innings. His ERA in that stretch is 9.50.
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