Matt "Charlie Parker" was Lou's influence when he played alto saxophone. Early in his career he played with "Milt Jackson","Thelonious Monk" and "Art Blakey" in the early days of "The Jazz Messengers" but Blues and Funk quickly became his staple diet. Conga, drums, Hammond B3, guitar, all injected by Lou into his Jazz. "Lou Donaldson" many may say was not an innovator but he knew how to entertain with always swing, groove and funk into the mix and he was always looking for muscians with that style and grit. This is Lou's second hammond album for Blue Note as the previous year he recorded "Here Tis" with "Grant Green" who had been found by Lou playing in a bar in St Louis and playing exactly what Lou wanted to hear, blues and funk. Grant was to go on and make the most appearances of any artist on Blue Note and to be rated one of the best Jazz guitarists of all time. "Tommy Turrentine" is blowing the trumpet who actually is "Stanley Turrentine's" older brother who is another Blue Note stalwart but today it is just Tommy. "John Patton" or "Big John" putting the groove down on Hammond Organ and that is what it is with lashings of Funk throughout the album. On drums we have "Ben Dixon" maybe not the best techinical jazz drummer but boy does he know how to swing and put down those chitlin' beats which is precisely what this album required. Recorded in 1962 with "Alfred Lion" in the producers chair,who actually was not that fond of the result especially the opener "Funky Mama" because of the lack of jazz but you will find it is one absolute groover and the highlight of the album " The Natural Soul"

The opener written by "John Patton" is groove and funk from woe to go with, "Funky Mama" being its title and John Patton stating that from the first note played at the intro where Grant Green comes in on guitar with one great shuffle beat being put down as well by Ben Dixon on drums pumping that rythmn. I have heard many a Grant Green solo and what he does with this one on that guitar is right up amongst his tops but that groove does not let up with Tommy on trumpet, Lou on alto, Big John putting down groove on his turn and Grant returning with John to finish this one rythmn funk monster off. At the time it was not really the thing Alfred Lion was after but all of us sure were with a great composition to jump around to. "Love walked In" a "Gershwin" brothers tune starts off with the theme but is quickly turned to a hammond groove with Tommy playing trumpet first, Grant does another beautiful little solo and was he in top notch form for this session. Lou is laid back on his alto with quite a nice take. The pumping groove is back with "Spaceman Twist" which does have a bit more in it that "Funky Mamas' structure but John on that hammond keeps just pumping it out. Lou goes first on this one with a great solo and Tommy on trumpet is just as good but the show stealer comes in being Grant with that jazz guitar of his and some beautiful more of his quick groove picking. "Sow Belly Blues" is another glorious ten minutes of groove which just glides through with Lou and Tommy bringing up the intro and Lou is off first again. "Tommy Turrentine" on trumpet was a great addition as he provides contrast to the album with his Bop style which he keeps throughout and his solos kept a great balance with the tunes and keeps the album in the realm of jazz and not just a funk, blues excursion which is apparent with how he plays his solo with "Sow Belly Blues". Off course Grant gives us another beauty on guitar and what a time in the early sixties it was for him with guitar mastery over every album he practically appearered on. Two more to go with the original album with "Thats All" being the only ballad with Lou giving it the treatment on alto. The finisher sounds exactly the same as its name "Nice and Greasy" with more of that groove with Grant giving us yet another display with his guitar. There is a bonus track on the cd the "Rogers and Hammerstein" song "People Will Say We're in Love" and Lou keeps this one jazz but still groove is present with John on hammond.

Right time, right place especially with the muscians John Patton and Grant Green who I have always felt played their best early in their careers with this album showing why. Lou will not go down in Jazz history as a cutting edge pioneer but he knew a good beat when he heard one and these style albums would be his style from now on, being funk with lashings of Hammond groove but still a little jazz within. Lou was an entertainer and with "The Natural Soul" entertainment is what you get.

scott fetner The Natural Soul Album released in 1962 from Blue Note Records is a standout in Soul/Jazz. Produced by Alfred Lion, with recording engineer Rudy Van Gelder and recorded at Van Gelder Studios in New Jersey on May 9th, this is a grooving album from start to finish. The record cover features Helen White, keeping with a style that was famous for Lou showcasing beautiful women of the era. The players responsible for pumping out this timeless groove album are Lou Donaldson on Alto Sax, Tommy Turrentine on Trumpet, Grant Green on Guitar, Big John Patton on Organ, and Ben Dixon on Drums. Donaldson originally from Badin, N.C. was heavily influenced by Charlie Parker and the Be-Bop era of jazz. He moved into Soul/Jazz and this album is a standout of the era.

Side one features "Funky Mama" as the intro track. The up-beat shuffle lead groove is a fantastic start to what is nine minutes worth of solid groove. Patton composed this tune, and the players brought it to life. Track 2 "Love Walked In" which is smoothly led by the pure genius of Donaldson's sax glides purely and effortlessly with hard organ notes commanding it. Track 3 is "Spaceman Twist" which jumps with the organ and sax once again. This tune will surely get your toes tapping, and your groove groovin, Grant Green comes alive with a solo in his signature style. Patton swings it to perfection with plenty of funky breaks at the end.

The album flips now to the "B" side, and Track 1 hits just as hard as the opening piece of the album. "Sow Belly Blues" is brought to pure life by Tommy. This is a very upbeat tune with brilliant horn work all around, it clocks in at over nine minutes as well. Track 2 "That is All" sees the album takes a break and the blues come in hard. The notes are delicately massaged and bended to perfection. It gives one the feeling of what it must have felt like to wander the streets of New York late at night in the late 50s, and early 60s. Finally Track 3 "Nice and Greasy" brings this masterpiece to a close. It is funk with a capitol F! The piece moves and grooves showcasing one more time this line-ups talent.

This classic belongs on any collector of Soul/Jazz's shelf. Keeping with Blue Note tradition, the works on this album are put together by some of the finest jazz musicians of the era.