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Sunny Side Up ~ Lou Donaldson | By Eddie Carter

This morning’s spotlight shines on alto saxophonist Lou Donaldson, who would’ve turned 100 on November 1st. Sunny Side Up (Blue Note BLP 4036/BST 84036) was his seventh release as a leader and hit the U.S. stores in 1961. Musically, it bridges Donaldson’s bebop roots and the blues-soaked hard bop and soul-jazz sound he later became known for. On this album, he’s working with Bill Hardman on trumpet (tracks: A1 to A4, B2, B3); Horace Parlan on piano; Laymon Jackson (A1, A2, A4, B1) and Sam Jones (A3, B2, B3) on bass; and Al Harewood on drums. For this report, I used my 1983 King Records Company Japanese mono reissue (Blue Note BLP 4036-K18P-9236).

The opener, Blues For J.P., by Horace Parlan, begins with an easy swing into the quintet’s theme. Bill’s opening solo is crisply constructed right from the start. Lou continues cooking with a down-home flavor in the second statement. Horace delivers a relaxing reading next, and Laymon takes a short walk, leading to the melody’s restatement and ending. Lou deceptively opens The Man I Love by George and Ira Gershwin slowly before the pace picks up for the group’s upbeat melody. Lou has the first spot this time for a rocking reading. Bill follows the leader with a solo of infectious energy. Horace comfortably digs into the third statement, and the front line shares a short conversation with Al before the song concludes.

Politely by Bill Hardman starts with the group’s theme at a slow, relaxing tempo. Lou gets things going with a solo as comfortable as a walk in the park. Bill glides through the second statement with a model of consistency and execution. Horace wraps things up before the ensemble returns to take the song out. It’s You or No One by Jule Styne and Sammy Cahn is a happy romper that takes off with the quintet’s brisk opening chorus. Lou takes charge on the first solo with an energetic statement. Bill flexes in the second interpretation, and Horace’s fingers get a good workout before the ensemble’s reprise and ending.

Lou Donaldson’s The Truth opens the second side, blending the blues with a spiritual flavor in a quartet showcase. Lou’s opening statement is warm and affectionate as it unfolds. Horace steps into the spotlight next for a short solo that’s hauntingly beautiful until Lou returns for a tender theme restatement and close. Goose Grease reunites the quintet for a medium-tempo melody led by both horns. Lou’s opening solo establishes an engaging rhythmic momentum, then Bill follows the leader with an impressive performance. Horace settles into an easygoing groove, while Sam delivers a terrific closing statement before the ensemble’s reprise and fadeout.

Softly As In A Morning Sunrise by Oscar Hammerstein II and Sigmund Romberg begins with Bill leading the rhythm section on the theme and opening solo. Lou steps up next and puts his personal stamp on a relaxing interpretation, then Horace delights with a soulful statement. Sam walks with well-thought-out ideas before the group takes it out softly. Alfred Lion produced Sunny Side Up, and Rudy Van Gelder recorded it. This King reissue’s sound quality is simply superb, with a dynamic soundstage that brings the musicians to your listening room with stunning fidelity.

For fans of Lou Donaldson who only know his soul-jazz releases and want a terrific alto sax-led album, I invite you to check out Sunny Side Up the next time you’re out record shopping. Lou Donaldson keeps things rocking, and his sidemen deliver in fine style. It’s an album that makes you feel good, rewards repeated listening and is highly recommended for a spot in your jazz library!

~ Softly As In A Morning Sunrise, The Man I Love – Source: JazzStandards.com ~ It’s You or No One – Source: Wikipedia.org © 2026 by Edward Thomas Carter

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