Donald Byrd Cuts Through the Sax Sound
Byrd's trumpet gives these sessions a brightness that keeps them from sounding like any other alto sax record.
What makes Wailing with Lou (1957) stick is Donald Byrd. Lou Donaldson's alto sax is the draw, obviously, but on these January sessions Byrd's trumpet keeps everything from settling into the usual alto-led hard-bop template. He's not playing pretty or high-flying—he's compact, direct, trading lines with Donaldson and filling space with just enough edge to make the rhythm section work harder. On the ballads, where you'd expect the sax to take over completely, Byrd's there too, proving these aren't just vehicles for Donaldson to show off his blues phrasing.
The rhythm section—Herman Foster on piano, John "Peck" Morrison on bass, and Art Taylor on drums—is tight and unfussy. Foster doesn't overplay; he comps solidly and solos when the moment calls for it. Taylor and Morrison lock in tight, which matters because this is working bop, not experimental stuff. The tunes move at a good clip, and everyone stays in pocket.
Stephen Thomas Erlewine at AllMusic called it "hard-driving bop and sensitive ballads, which are sure to please fans of the style." That's fair—there's nothing avant-garde or surprising here. But there's also nothing wasted. These are players doing their job well, with Byrd making sure you're never just listening to an alto sax record.
Who's playing
John "Peck" Morrisondouble bass
Herman Fosterpiano
Lou Donaldsonalto saxophone
Donald Byrdtrumpet
Art Taylordrums
Where next?
More by Lou Donaldson
All 15 albums →
The musicians on this record
Their own records, close in time
