Lou Donaldson, the celebrated alto saxophonist whose soulful, blues-infused style became a cornerstone of jazz for over seven decades, passed away on Saturday at the age of 98. His family confirmed the news, though the details of his death were not disclosed.
A pivotal figure on the Blue Note record label during its golden era, Donaldson was a prolific artist, recording extensively both as a bandleader and sideman since 1952. He was a key voice in the evolution of “hard bop,” a genre that emerged from bebop, influenced by his idol, alto saxophonist Charlie Parker. In 2012, Donaldson was honored as a Jazz Master by the National Endowment for the Arts.
Known for his exceptional technique, deep tone, and sophisticated taste, Donaldson was also rooted in the raw, gospel-infused sounds of Black church music and rhythm and blues. His 1958 album Blues Walk is considered a jazz classic, with the title track becoming a widely recognized standard.
In addition to his performing career, Donaldson was a keen talent scout for Blue Note, introducing trumpet virtuoso Clifford Brown and guitarist Grant Green to the label’s founders, Alfred Lion and Francis Wolff.
Donaldson’s time at Blue Note produced an incredibly diverse and influential catalog of work, including landmark collaborations with organist Jimmy Smith starting in 1957. These partnerships helped shape a new jazz subgenre: the organ-saxophone combo. In 1967, Donaldson expanded the collaboration by featuring rising guitar star George Benson and Hammond B3 player Lonnie Smith for the album Alligator Boogaloo. The funky title track became a surprise hit, even reaching the Billboard Hot 100—an unusual achievement for a jazz record at the time.
Born Louis Andrew Donaldson Jr. on November 1, 1926, in Badin, North Carolina, he grew up in a musically inclined family. His father was a minister in the AME Zion Church, and his mother, a first-grade teacher and amateur musician, played a significant role in his early education. Despite battling severe asthma, Donaldson began learning the clarinet, finding that its breathing techniques helped with his condition.
Donaldson enrolled at North Carolina A&T College in 1942 at just 15 years old, majoring in pre-law, and quickly became an active member of the school’s renowned band. He also briefly pursued semipro baseball but abandoned the sport after injuring a finger, realizing it could jeopardize his musical career.
After being drafted into the Navy in 1945, Donaldson was stationed at Camp Robert Smalls in Illinois, where he was able to immerse himself in Chicago’s vibrant jazz scene. It was there that he discovered the music of Charlie Parker, a pivotal moment in his musical development.
In 1949, encouraged by touring jazz musicians, Donaldson moved to New York City, where he soon became part of Harlem’s flourishing jazz community. It was at the iconic Minton’s Playhouse that Alfred Lion of Blue Note Records first approached him with an offer to record. “We’re looking for somebody who plays like Charlie Parker,” Lion told Donaldson, to which the saxophonist replied, “That’s the way I play.”
Donaldson’s first Blue Note session came in 1952 as part of a Milt Jackson-led session, which also included some of the future members of the Modern Jazz Quartet. He recorded his first session as a bandleader later that same year. Donaldson’s output throughout the 1950s and 1960s was vast, with numerous albums and collaborations that would go on to define hard bop and soul jazz.
In the late 1960s, Donaldson’s embrace of funk-based organ grooves proved to be a perfect match for his sultry, groove-oriented saxophone. Despite the rise of jazz fusion, Donaldson remained a staunch classicist, famously declaring, “No fusion, no confusion.”
Even after leaving Blue Note in 1980, Donaldson’s legacy endured, with many of his riffs later sampled in hip-hop tracks by artists like Kanye West and Pete Rock.
Donaldson’s music will continue to resonate, both as a foundational figure in jazz and as a bridge between generations of musicians. His unique voice on the alto saxophone, steeped in blues, gospel, and the jazz tradition, remains a hallmark of his enduring influence.
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