Blue Note wasn't any different than most labels in that it wanted breadand-butter artists on their wish list – those who regularly shift massive amounts of albums and in doing so keep the company financially buoyant and able to pay the bills and finance fresh talent. Lou Donaldson was one such signing who first appeared on the radar in 1952, backed by the MJQ, to be followed quickly by memorable sessions with Clifford Brown, and Art Blakey. Six years junior to Bird, Lou came up with a fail safe style which combined the most easily assimilated Parkerisms with a more earthy funky R&B stance, which endeared him to most folks and would greatly increase his popularity when upgrading to a fashionable Hammond and horn line-up. A truly joyful sound, which was always underpinned by an equally spirited rhythm section – Foster, Morrison and Bailey (Blues Walk) and Parlan, Tucker and Harewood (Midnight Sun). Before making this quantum leap, these two albums stand as prime examples of his artistry encompassing everything from pop standards such as ‘Candy’ (two versions), an evocative cover of Lionel Hampton's ‘Midnight Sun’, a couple of bebop classics ‘The Squirrel’ and ‘Move’ to such standards as ‘The Masquerade Is Over’ plus a handful of Lou's own finger-poppers. If you haven't already acquainted yourself with Lou Donaldson, then this is as good a place as any to start.