# The loss of NEA Jazz Master and legendary alto saxophonist Lou Donaldson – Photos, Video

- Link: https://jazzblues.eu/2024/11/12/the-loss-of-nea-jazz-master-and-legendary-alto-saxophonist-lou-donaldson-photos-video/
- Published: 2024-11-12T00:04:13+01:00
- Author: https://JazzBlues.EU

**Legendary alto saxophonist, composer, NEA Jazz Master, and Blue Note legend Lou
Donaldson passed away on Saturday at the age of 98. His family announced his death.**

Donaldson was born in North Carolina on November 1, 1926. His mother knew early 
on that he would be a talented musician. Lou’s early style was deeply influenced
by Charlie Parker, though he soon developed his own distinctive soulful and bluesy
sound on the alto saxophone.

![Lou Donaldson](https://npr.brightspotcdn.com/dims4/default/982141f/2147483647/
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Lou Donaldson

After serving in the U.S. Navy during World War II, Donaldson moved to New York 
City in 1950 and soon made in-roads into the city’s vibrant jazz scene. Blue Note
founder Alfred Lion was impressed after hearing Donaldson perform at Minton’s Playhouse
in Harlem and began inviting him into the Blue Note fold where he would be a key
player at several pivotal moments in Blue Note history, becoming a catalyst for 
many of the directions that the label would take and introducing many future Blue
Note artists in his bands.

Grammy Award-winning bassist **Christian McBride **went to Florida in 2019 for a
special edition of the show. (excerpt at the top of this article). McBride called
Donaldson as a hip and funky instrumentalist and composer who road the wave of Hard
Bop with Thelonious Monk and Art Blakey to the forefront of a more soulful approach
to the music. McBride called Lou the “Don Rickles of Jazz” because he says Donaldson
always made people move, groove and laugh.

![Lou Donaldson at VIS club, Divisadero Street, San Francisco in June 1984](https://
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**Lou Donaldson** at VIS club, Divisadero Street, San Francisco in June 1984

Donaldson’s first-ever record date on April 7, 1952 was as a sideman on Milt Jackson’s
Blue Note debut featuring John Lewis, Percy Heath, and Kenny Clarke (that foursome
would go on to become the Modern Jazz Quartet). The following month Lion had Donaldson
back in the studio as part of the Thelonious Monk Sextet for another foundational
bebop date.

Donaldson’s take on ‘Ode To Billie Joe’ was a crossover moment for the musician,
while albums such as _Alligator Boogaloo_ helped to define soul-jazz as a form.

The droll, sleek-haired saxophonist Lou Donaldson, who has died aged 98, was disinclined
to let a good lick or a good gag wither on the vine. Alongside his immense saxophone
eloquence, he possessed a highly entertaining strangled-parrot blues voice, and 
at gigs in his later years would regularly deliver his vocal party piece, Whisky
Drinkin’ Woman. He would then express his gratitude to audiences with the words “
glad y’all appreciate classical singing”.

Donaldson had his biggest hit with the soul-jazz anthem Alligator Boogaloo in 1967.
He probably stopped changing as a creative jazz artist around this time, but it 
never mattered that he stayed the same. His show had a rootsy bonhomie that kept
it engagingly and unerringly on the road.

He came to favour summaries of the catchy, stripped-down riffs of his hit tunes,
and occasional bursts of the sharp-toned double-time bop runs that showed how seriously
he understood the idiom, despite his frequently light-hearted presentation of it.

But Donaldson loved his work, and his rheumy, seen-it-all physiognomy registered
satisfaction with a young audience’s affection for him. He would sing as much as
he played, and slyly milk reactions by delaying the payoffs in the inevitable cadences
of the blues, keeping the final chords churning on like a stuck disc.

Lou Donaldson performing Whisky Dinkin’ Woman in 2000

Donaldson was one of Charlie Parker’s most distinctive alto saxophone disciples 
when he first surfaced in the 1950s. The secret of Parker’s pervasive influence 
was his affinity with the blues – a common root that made the music accessible to
a non-specialist public, despite the complexity of bop syntax compared to the more
lyrical and dance-based jazz that had preceded it.

Parker’s inspirations were adopted and adapted in many ways, but the post-Parker
alto saxophonists Cannonball Adderley and Donaldson rarely departed from the blues.
Their work did much to inspire the 60s soul-jazz movement – bebop with a preacher’s
emphatic cry – and a jazz development that was critical to the evolution of late
20th-century fusion and jazz-funk.

Donaldson, born two years earlier than Adderley – and an influence on the younger
man’s development – had an American southerner’s sensitivities to the raw and vocal
sound of early blues.

Born in Badin, North Carolina, the second of four children of Louis, a minister,
and Lucy, a music teacher and pianist, Lou studied the clarinet as a teenager – 
all his siblings were musicians – and played in a marching band while studying at
North Carolina A&T College, in Greensboro. In 1945 he was drafted into the US navy,
where he took up the alto saxophone and joined a navy band that also featured the
celebrated swing altoist Willie Smith.

Smith, also Carolina-born, was a significant early influence on Donaldson, with 
his fluency of ideas and professionalism. Like many Parker disciples, Donaldson 
then made the move from the south to bebop’s birthplace in New York after the second
world war. But he heard the bluesily expressive depths in the new idiom better than
many of Parker’s young imitators – his tone was incisive and fierce, his phrasing
as emphatic and dramatic as a sermon, while he also had a sophisticated grasp of
the method’s harmonic complexities.

The late 1940s also saw some creative meetings between swing jazz and urban rhythm
and blues, in the “jump music” style of Louis Jordan, one of the precursors of rock’n’roll.
Saxophone players within that full-on idiom had much in common with the young Donaldson’s
evolving style.

![Lou Donaldson on stage in New York, 2003.](https://i0.wp.com/i.guim.co.uk/img/
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Lou Donaldson on stage in New York, 2003. Photograph: Jeff Christensen/Reuters

In 1952 Donaldson made his recording debut with the bop vibraphonist Milt Jackson(
a founding member of the Modern Jazz Quartet) and also recorded with the pianist
Thelonious Monk. He began working with the powerful young Dizzy Gillespie trumpet
disciples Blue Mitchell and Clifford Brown, the pianist and jazz-funk godfather 
Horace Silver and the drummers Art Blakey and Philly Joe Jones.

All these players were taking the first steps in the development of the gospelly“
hard bop” style, a pungent antidote to the vaporous, more intellectualised chamber-
jazz manner of the 50s “cool school”. Donaldson also worked briefly with Charles
Mingus and the saxophonist Sonny Stitt, but it was his performance with Brown, Silver,
Blakey and the Parker bassist Tommy Potter – an encounter documented on the two-
volume A Night at Birdland – that led to the founding of one of the most famous 
bands in the hard bop style, Blakey’s long-running Jazz Messengers.

The Blue Note label was closely associated with the promoting of hard bop, and Donaldson
became a regular in the company’s studios. The drive of the Latin-jazz percussionist
Ray Barretto was a key element in the jukebox success of the saxophonist’s 1958 
album Blues Walk, and John Patton’s holy-rolling Hammond organ stoked up the sermonising
atmosphere alongside the infectiously funky guitarist Grant Green on the 1963 Donaldson
disc Good Gracious!

The album spawned two hit singles, which found their way on to R&B radio stations
that rarely aired jazz.

After working with Blue Note luminaries including Donald Byrd and Wayne Shorter,
Donaldson quit the label in search of more funk-oriented marketing in the mid-60s,
but returned in 1967 to make the repetitive but popular Alligator Boogaloo – with
the organist Lonnie Liston Smith and a young rising star, George Benson, on guitar.

Jazz was then under pressure from a more adventurous and improvisatory rock music,
and the pragmatic Donaldson was looking for loopholes, experimenting for a while
with the electronic Varitone saxophone. Mr Shing-A-Ling was a subsequent hit, after
which Donaldson rarely altered his predominantly funky repertoire in the studios.
Titles such as Say It Loud (1968), Hot Dog (1969) and Everything I Play Is Funky(
1970) make Donaldson’s target audience clear.

In his late 50s, he began recording again – for the Muse, Timeless and Milestone
labels – and for the latter company he recorded the album Caracas in the early 90s,
with Lonnie Liston Smith back on the Hammond organ stool.

The knowing old veteran still sounded in fine fettle on some favourite themes on
the 2000 album Relaxing at Sea: Live on the QE2, with the young trumpeter Nicholas
Payton reminding him of the bebop audacity that had first lit his musical flame 
over half a century before.

His infectious playing was often sampled in later years, and he was made a National
Endowment for the Arts Jazz Master in 2012 – a year in which he also made an engaging
appearance at Ronnie Scott’s Club in London, affectionately unfurling his old hits
like Blues Walk and Alligator Boogaloo. Donaldson retired from live performances
in 2017, but regularly attended tributes to him at Dizzy’s Club in Manhattan until
his 97th birthday.

He was married for 56 years to his wife, Maker, who died in 2006. He is survived
by their daughters, Lydia and Carol.

![Host Christian McBride and Saxophonist Lou Donaldson in Florida.](https://npr.
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