Stanford Jazz Workshop

SJW Artists

Peter Apfelbaum Sextet
Kenny Barron / Terrell Stafford / Dayna Stephens / Matt Wilson
Alan Broadbent Trio
Jimmy Cobb Quartet featuring Kenny Barron
Ruth Davies Blues Night featuring Barbara Morrison
Basie and Beyond: Jamie Davis and the Fred Barry Jazz Orchestra
Sasha Dobson Trio
Lou Donaldson Quartet
Madeline Eastman / Dena DeRose
Taylor Eigsti / Julian Lage Group
Eddie Gomez Trio / Frank Wess Quartet
Wycliffe Gordon Presents the Jazz Mentors
Wycliffe Gordon Quartet featuring Matt Wilson
Albert "Tootie" Heath
Jimmy Heath
Bobby Hutcherson
Nancy King
Kneebody
Lee Konitz
Maria Marquez Quintet
Jeb Patton Trio featuring Tootie Heath
Nicholas Payton Quintet
Kurt Rosenwinkel Group
John Santos Quintet
The Latin Side of the Great American Songbook with Peggy Stern
(New) Standards Night wtih Peter Stoltzman
Patrick Wolff Trio

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Lou Donaldson Quartet featuring Akiko Tsuruga
Lou Donaldson’s performance at the 2002 Stanford Jazz Festival is still spoken of by some as one of the best shows in SJF history. With a first class bop pedigree—he recorded in the 50’s with Thelonious Monk and Milt Jackson, among others—his saxophone style was distinctly influenced by Charlie Parker.

Initially a clarinetist, Donaldson switched to saxophone when he was in the Navy—the dance band needed a sax player. He was signed to Blue Note after moving to New York in 1950. One of Donaldson’s most memorable appearances on record early on in his career was while playing with Art Blakey, Clifford Brown, Horace Silver and Tommy Potter (the future The Jazz Messengers). The live recording of the show, 1954’s “A Night in Birdland,” is a classic.

With an emphasis on feel, Donaldson was one of the first bandleaders to add Latin percussion to his band (Ray Baretto in 1958). Donaldson then developed a blues-based jazz organ trio sound, a style dubbed “soul jazz” with which he is identifi ed to this day. His blues flavored phrasing coupled with the funky rhythmic backdrop of the Hammond B3 caught on big, attracting a new audience for Donaldson and crossover chart success with CD’s such as “Alligator Boogaloo.” As Donaldson said in an interview with All About Jazz: “Blues is the backbone, and if you don’t have it in jazz it’s like taking sugar out of a cake. So I think that’s why my old music still sells, because it has blues feeling and it swings.”

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