Granted, a single-disc overview of Blue Note's finest recordings can't help but offer listeners more than a myopic view of the label's true scope, but for jazz neophytes, this nine-track collection will undoubtedly serve as a tantalizing taste of the company's riches. The song selection, though lacking few surprises, is consistently wonderful – how could a disc featuring John Coltrane's "Blue Train," Herbie Hancock's "Maiden Voyage," Horace Silver's "Song for My Father" and Lee Morgan's "The Sidewinder" be anything but? – and purists' complaints aside, for new fans it's a solid introduction to the Blue Note magic.

On the Corner is yet another excellent Blue Note U.K. compilation of absolutely killer cuts from Blue Note's prime jazz-funk years in the wake of the soul-jazz explosion of the 1960s and Miles Davis' electric innovations in the late '60s and '70s. Typical of Blue Note in the period, these tracks all came from albums that were, in one sense, birds of a feather. In other words, whatever was "happening," Blue Note recorded it almost exclusively and forced even established artists to fit into that mold. While there were some mixed results, obviously, there is also a wealth of great material to choose from, as this funk-centric compilation makes very clear. One can already judge where the set is headed when it begins with Gene Harris' truly grooving "Losalamitoslatinlovesong." Harris cut three terrific electric jazz-funk sets for the label in the 1970s, only one of which has ever been available on CD. But other selections – such as Eddie Henderson's "Kumquat Kid," Ronnie Foster's "Cheshire Cat," Ronnie Laws' "Always There," and Moacir Santos' "Route" – offer funky fusion delights as well. There are 20 tunes on two discs, each of them jam-packed with gems.

After brief sojourns at Argo and Cadet, Lou Donaldson marked his 1967 return by recording Lush Life, the grandest project he ever attempted. With its plush arrangements and unabashedly pretty melodies, Lush Life stands in stark contrast to everything else he cut in the '60s. There are no blues, no stabs at soul-jazz grooves, no hard bop - only sweet, sensitive renditions of romantic standards. Donaldson shone on ballads before, but it's nevertheless surprising how successful he is on this set of slow love songs. His tone is full and elegant - it's easy to get lost in his rich readings of these familiar melodies, as well as his slyly seductive improvisations. Of course, it helps that his instrumental backdrops are as lovely as those his nine-piece backing band provide…

Gravy Train is a fine, if not quite exceptional record from Lou Donaldson's initial soul-jazz phase of the early '60s. Actually, given the title and the period in which it was recorded, the album isn't quite as greasy and funky overall as one might expect; most of the repertoire is devoted to pop ballads and mid-tempo standards, the latter of which tends to bring out more of the bop elements in Donaldson's playing. That's not true for the entire album, though; the title cut is a laid-back, conga-tinged, bluesy groover in the classic Donaldson mold, even if it's a bit workmanlike. Donaldson's longtime pianist, Herman Foster, is allotted quite a bit of solo space here, and he concentrates more on thick, rippling chords than single-note lines…

The Natural Soul finds Lou Donaldson delving deeply into soul-jazz, recording a set of funky, greasy instrumentals with only a few references to hard bop. Donaldson occasionally sounds a little awkward with the relaxed groove of The Natural Soul, as does trumpeter Tommy Turrentine, but the trio of guitarist Grant Green, organist John Patton, and drummer Ben Dixon keep things cooking. Green and Patton's solos often burn and are always invigorating, and Lou frequently matches their heights. The original compositions - which form the bulk of the album - aren't much more than blues and soul vamps, but they provide an excellent foundation for the combo to work hot grooves. And, in the end, that's what The Natural Soul is about - groove. It maintains the high standards Donaldson established with his first soul-jazz foray, Here 'Tis, and remains one of his best records in that genre.

This release presents Lou Donaldson’s complete original LP "Here 'Tis", which marks the first of his six recording sessions with the brilliant guitarist Grant Green. The group is complemented by organist Baby Face Willette (with whom Donaldson would never record again), and drummer Dave Bailey. Also included here is a complete session recorded by Donaldson and Green shortly after in the same format, but this time with Brother Jack McDuff on organ (with whom the saxophonist would never collaborate again), and Joe Dukes on drums.

Nine soul-jazz cuts from the Blue Note vaults from between 1967 and 1970, all previously unreleased, alternate takes, or (in one case) only released on a single, by major figures such as Grant Green, Lou Donaldson, John Patton, Lonnie Smith, and John Patton. This doesn't really rate with the cream of the genre - all of the aforementioned artists have better work in the style available on their own full-length albums, and some of the cuts are fairly unremarkable adaptations of late-'60s soul and pop hits. It's a good deal for the collector, though, offering over 70 minutes of material unavailable elsewhere.

These sessions were recorded for Blue Note in 1961 and 1963. The first date features five cuts with Jack Mcduff on organ, Grant Green on guitar, and Joe Dukes on drums. The four remaining cuts were recorded two years later with John Patton on organ, Ben Dixon on drums, and the addition of Irvin Stokes on trumpet. This is a mainly mellow affair with six of the nine tracks exchanging the hard bop and soul-jazz of the times for ballads and slow blues. However, the occasional up-tempo funky surprise does pop up on "My Melancholy Baby" and the Donaldson originals "Hipty Hop" and "Soul Meetin'."

Lou Donaldson's undisputed masterpiece, Blues Walk, marks the point where the altoist began to decisively modify his heavy Charlie Parker influence and add a smoky, bluesy flavor of his own. The material is still firmly in the bebop vein, and the mellower moments aren't as sleepy as some of Donaldson's subsequent work, so the album sounds vital and distinctive even as it slows down and loosens things up. That makes it the definitive release in Donaldson's early, pre-soul-jazz period, but what elevates Blues Walk to classic status is its inviting warmth. Donaldson's sweetly singing horn is ingratiating and melodic throughout the six selections, making even his most advanced ideas sound utterly good-natured and accessible…

Here 'Tis is in the front rank of Lou Donaldson records, an exceptionally funky soul-jazz session that finds the saxophonist swinging harder than usual. As he moves from hard bop to soul-jazz, Donaldson reveals a bluesy streak to his playing while keeping the vigorous attack that defined his best bop. Donaldson's playing is among his finest in the soul-jazz vein, but what makes Here 'Tis such an enjoyable session is his interaction with his supporting trio of guitarist Grant Green, organist Baby Face Willette, and drummer Dave Bailey. As support, all three know how to keep a groove gritty and flexible, following Lou's lead and working a swinging beat that keeps flowing, never growing static…