Lou Donaldson
's undisputed masterpiece,
Blues Walk
, marks the point where the altoist began to decisively modify his heavy
Charlie Parker
influence and add a smoky, bluesy flavor of his own. The material is still firmly in the
bebop
vein, and the mellower moments aren't as sleepy as some of
Donaldson
's subsequent work, so the album sounds vital and distinctive even as it slows down and loosens things up. That makes it the definitive release in
's early, pre-
soul-jazz
period, but what elevates
to classic status is its inviting warmth.
's sweetly singing horn is ingratiating and melodic throughout the six selections, making even his most advanced ideas sound utterly good-natured and accessible. The easy-swinging title cut is a classic, arguably
's signature tune even above his late-'60s
hits, and his other two originals --
"Play Ray"
and
"Callin' All Cats"
-- are in largely the same vein. Elsewhere,
displays opposite extremes of his sound; the up-tempo
classic
"Move"
provokes his fieriest playing on the record, and his
romantic
version of
"Autumn Nocturne"
is simply lovely, a precursor to
Lush Life
. The addition of
Ray Barretto
on conga is a subtle masterstroke, adding just a bit more rhythmic heft to the relaxed
swing
. There are numerous likable records in
's extensive catalog, but
is the best of them all. ~ Steve Huey