Requisites

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

CALIFORNIA JAZZ FOUNDATION

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LIZZ WRIGHT & KENNY BANKS SR.

Lizz Wright, who owns one of the most spellbinding voices of her generation, regardless of genre is joined by her dear pianist Kenny Banks Sr. on their brand new album, Nearness. The album, produced by longtime musical director and esteemed guitarist Chris Bruce, features just Wright and Banks, on piano and organ, traversing the romance of the Great American Songbook and the resiliency of Black spirituals. Nearness is an extraordinary showcase for each artist’s sheer ability and experience. But more than that, it serves as a master class in the clairvoyance and faith that defines collaboration at its apex.

Through an inimitable voice that The New York Times touts as, “a smooth, dark alto possessed of qualities you might associate with barrel-aged bourbon or butter-soft leather,” renowned vocalist and songwriter Lizz Wright sings with a soaring reflection of the cultural fabric of America. She lies beneath the script of history, transcending social divides with an offer of love and deep sense of humanity. Her music accepts the beauty of reality and creates a collective experience of belonging for the listener. Wright’s songs embody a tradition that allows us to always feel at home.

Kenny Banks Sr., a composer, arranger and performer who slips effortlessly among musical styles while retaining his own distinct sound. This Columbus Ohio native has graced renowned stages like the Jools Holland Television Show in England, Tiny Desk, BET, and the Image Awards. His iconic performances at the inauguration and the United Nations Ceremony for President Barack Obama highlight his impact, resonating across significant venues such as Carnegie Hall in New York City and the Philharmonie in Berlin. Kenny has engaged with acclaimed artists like Jimmy Heath, Wess Anderson, Earl Klugh, Kathleen Bertrand, Jennifer Holiday, Aretha Franklin, and even the prestigious Philadelphia Orchestra, showcasing just a glimpse of his impressive list of notable musical performances.

Cover: $65.00 ~ $75.00 | $5.56 – $6.26 fee

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CHIEF ADJUAH

Chief Xian aTunde Adjuah [formerly Christian Scott] is a two-time Edison Award-winning, Doris Duke Award in the Arts-winning, six-time Grammy-nominated, sonic architect, multi-instrumentalist, composer, producer, and designer of innovative technologies and musical instruments. (including the Adjuah Trumpet and Chief Adjuah Bow). The NOCCA and Berklee College of Music graduate is the founder and CEO of Stretch Music, an App and Recording Company.

Adjuah is the Chief and Oba of the Xodokan Nation as well as a Grand Griot of New Orleans. He is the grandson of Louisiana luminary and legend, the late Big Chief Donald Harrison Sr. and the nephew of NEA Jazz Master saxophonist-composer, Big Chief Donald Harrison, Jr.

Since 2002, Adjuah has released fourteen critically acclaimed studio recordings, four live albums, and one greatest hits collection. He is widely recognized as the progenitor of “Stretch Music,” a 21st-century approach that asserts genre blindness and an ethnomusicological approach to limitless fusion.
Adjuah has collaborated with Prince, Mos Def (Yasin Bey), Thom Yorke, McCoy Tyner, Marcus Miller, Flea, Eddie Palmieri, Robert Glasper, as well as heralded poet Saul Williams. His innovations have garnered him a PBS American Masters episode, JAZZFM’s Innovator of the Year Award, Jazz Journalist Association Trumpeter of the Year, The Herb Alpert Award in the Arts, The Changing Worlds Peace Maker Award, a host of other accolades and honors.

Adjuah is an inaugural member of the Black Genius Brain Trust, an honor he shares with his writer/director identical twin brother, Kiel Adrian Scott. Adjuah has played himself in the hit films Bill and Ted Face the Music and Issa Rae’s, The Photograph, and became the face of the first-ever BMW XM vehicle.

Cover: $38.24 – $55.13 | $20.00 Minimum Per Person

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CHARLES LLOYD QUARTET

Charles Lloyd, is an NEA Jazz Master and recipient of the prestigious French honor, l’Ordre Chevalier des Arts et des Lettres. Voted DownBeat magazine’s Artist of the Year in 1967, Charles Lloyd was again voted Artist of the Year in 2023. And in 2024 he was honored with a rare DownBeat Critic’s Poll quadruple crown; Hall of Fame, Artist of the Year, Album of the Year, and Tenor Saxophonist of the Year–John Coltrane being the only other artist to receive that honor. Lloyd has a legendary history in the music world, and could certainly be in a position to slow down and rest on his laurels. The depth of his expression reflects a lifetime of experience. But looking back has never been of great interest to this tender warrior; “Go forward,” is his motto, as he keeps shifting to a higher, well calibrated gear.

In 1956 Lloyd moved to Los Angeles and graduated from the University of Southern California. During this period Lloyd played in Gerald Wilson’s big band, and formed his own group that included Billy Higgins, Don Cherry, Bobby Hutcherson, Scott LaFaro, and Terry Trotter. Lloyd joined Chico Hamilton in 1960. His influence as a composer quickly pushed the group in a more progressive post-bop direction when Hamilton asked him to be the group’s “music director.” In 1964 Lloyd left Hamilton’s group to join alto saxophonist Cannonball Adderley. He recorded two albums as a leader for Columbia Records, Discovery and Of Course, Of Course; his sidemen included Gabor Szabo, Don Friedman, Herbie Hancock, Ron Carter, Tony Williams, and Pete La Roca. In 1965 Lloyd formed a quartet with pianist, Keith Jarrett, bassist, Cecil McBee, drummer, Jack DeJohnette. It was a meeting of straight-ahead post-bop, Free jazz, rock, and world music. Their music quickly caught the attention of jazz fans and critics. They achieved crossover success with young rock fans and became the first jazz group to play in the famed Fillmore. The album Forest Flower, Live at Monterey, sold over one million copies.

The Quartet
Charles Lloyd ~ Saxophone
Bill Frisell ~ Guitar
Larry Grenadier ~ Bass
Kweku Sumbry ~ Drums

Cover: $89.12 – $111.78 | Plus $20.00 per person

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JASON MARSALIS QUARTET

Vibraphonist Jason Marsalis knows a brilliant young musician when he hears one. Equally renowned as a drummer, the youngest brother in the illustrious New Orleans jazz clan has blazed a singular trail since co-founding the Caribbean jazz-steeped Los Hombres Calientes with Headhunters percussion legend Bill Summers. His sleek quartet plays with the dynamic control and precision of a chamber ensemble, and the band’s bluesy authority and improvisational firepower leave no doubt why Marsalis was named an NEA Jazz Master along with his father Ellis and his brothers Branford, Wynton, and Delfeayo.

Marsalis’s latest project features the startlingly accomplished vocalist Vanisha Gould. Raised in Simi Valley, she’s spent the past decade in New York City, where she’s earned widespread esteem as a bandleader, composer and performer. Inspired by greats like Ella Fitzgerald, Sarah Vaughan, Joni Mitchell, and Billie Holiday, Gould is an artist who thrives on bandstand give-and-take. Her third and latest album, 2024’s She’s Not Shiny, She’s Not Smooth, features her original songs and her commitment to unvarnished musical honesty. With no studio fixes or overdubs, it’s a celebration of the authenticity that makes Gould such a riveting performer. Partners in impromptu bandstand invention, the Marsalis Quartet is ideally equipped to meet Gould in the moment.

Personnel
Jason Marsalis ~ Vibraphone
Vanisha Gould ~ Vocals
Additional Bandmates ~ TBA

Tickets: $35.00 ~ $85.00

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