Lou Donaldon Gravy Train

Formed in Lancashire in 1969, Gravy Train was fronted by guitarist and vocalist Norman Barratt, along with J.D. Hughes on keyboards, flute and saxophones, Les Williams on bass and Barry Davenport on drums. The band first came to public attention when they signed to Vertigo Records in 1970. Gravy Train recorded two classic progressive rock albums for the label before signing with Pye Records' progressive label, Dawn in 1973. "Staircase to the Day" was the band’s second album for Dawn Records. Issued in 1974, the album was a fine collection of Progressive Rock music that took in influences from bands such as Jethro Tull, Roland Kirk et al.

The 3rd album by Gravy Train and follow up to "Ballad of a peaceful man". Style is a mix of GENESIS, but with a rawer & more folky edge. Feat. Excellent guitars from Norman Barrett, and flute / sax by JD Hughes as well. Gravy Train were a progressive rock group from Lancashire, England, formed by vocalist and guitarist Norman Barratt in 1970. Together with J.D. Hughes (keyboards, vocals, wind), Lester Williams (bass, vocals) and Barry Davenport (drums) they recorded four studio albums. The first two were released on the Vertigo label and the latter two by Dawn Records. The band was dissolved in 1974. Little is known what happened with its members except for Norman Barratt, who appeared in Mandalaband for their second and final album in 1978. He went on to found the Barratt Band, which recorded albums in the early 1980s.Released in late 1971, (A Ballad of) A Peaceful Man was Gravy Train's second - and probably their most praised - album. Unlike their heavier debut, this album sports some lovely string arrangements, provided by Nick Harrison.

Among the lesser-feted jewels released by the Vertigo label during its swirly-logo purple patch, Gravy Train's restful hybrid of jazz-tinged virtuosity, folky pastorals, and heartfelt vocalizing peaks on this, their second album, and that despite A Ballad of a Peaceful Man doing little more than treading water when compared to the experimental peaks of its predecessor. Part of the album's appeal lies in the then-novel concept of splitting its contents neatly in half, the hard rockers on one side, the softer material on the other. On the whole, the ballads have dated a lot better than the monsters, particularly "Alone in Georgia," which clashes sweet soul with (of all things!) Southern rock and, for some reason, sounds a lot like the Heavy Metal Kids.

Gravy Train were a progressive rock group from Lancashire, England, formed by vocalist and guitarist Norman Barratt in 1969. Also featuring J.D. Hughes (keyboards, vocals, wind), Les Williams (bass, vocals) and Barry Davenport (drums), the band would record four studio albums. The first two were released on the Vertigo label, the latter two by Dawn Records. In 1973, Gravy Train moved from Vertigo to Dawn Records, the progressive offshoot of Don Kirshner’s PYE Records label. This produced Second Birth — eight tracks, two of which ("Strength of a Dream" and "Tolpuddle Episode") were released as a single. Again it failed to set the charts alight.

Gravy Train were a progressive rock group from Lancashire, England, formed by vocalist and guitarist Norman Barratt in 1970. Together with J.D. Hughes (keyboards, vocals, wind), Lester Williams (bass, vocals) and Barry Davenport (drums) they recorded four studio albums. The first two were released on the Vertigo label and the latter two by Dawn Records. The band was dissolved in 1974. Little is known what happened with its members except for Norman Barratt, who appeared in Mandalaband for their second and final album in 1978. He went on to found the Barratt Band, which recorded albums in the early 1980s.Released in late 1971, (A Ballad of) A Peaceful Man was Gravy Train's second - and probably their most praised - album. Unlike their heavier debut, this album sports some lovely string arrangements, provided by Nick Harrison. A unique feature of the album is that it splits the heavy tracks from the lighter tracks: all the ballads are on side 1, while all the rockers are on side 2.Wikipedia

Typifying the excesses that have frequently been denounced in their genre, UK progressive rock band Gravy Train recorded a series of albums for Vertigo Records and Dawn Records in the early 70s bedecked in grandiose, conceptual artwork. The group’s core members were Norman Barratt (vocals/guitar; b. 5 February 1949, d. 30 July 2011), Barry Davenport (drums), J.D. Hughes (woodwind/keyboards/vocals) and Les Williams (bass/vocals). Their first, self-titled 1970 album was dominated by Hughes’ flute melodies, which earned the group initial comparisons to Jethro Tull, as well as extended rock riffs. One of the songs, ‘Tribute To Syd’, was an obvious salute to the genius of Syd Barrett.

Adorned in a Roger Dean gatefold sleeve, this eight-song collection is expanded with four single sides, but the fourth album by guitarist/ vocalist Norman Barrett and his band of merry prog men stands proud in any case. While Gravy Train never moved to the premier league with the likes of ELP and Yes, their BJH-styled approach is understated but equally as gripping. Hence, the psych-tinged chorale of opener Starlight Starbright is redolent of Yes, while Bring My Life On Back To Me is akin to BJH’s The Great 1974 Mining Disaster, which can’t be bad. Never Wanted You is a psych-leaning number with harmonica wails, while Staircase To The Day has pastoral flute and mellotron ? la Camel. The knowingly-titled Going For A Quick One actually adopts period glam tones rather than Yes, but the clavinet and piano of Evening Of My Life impresses, and the wahrich Busted In Schenectady closes proceedings in Grobschnittian fashion.

Third album, dating from 1973, from this UK heavy prog band. Inevitable Jethro Tull comparisons, due to the inclusion of flute, shouldn't detract from the fact that this is a fine example of 70s British rock.
Second Birth is one of the more hard rocking albums on the legendary Dawn label - but a set that's also got all sorts of complexity and interesting moments that really keep things on edge throughout! There's tracks here that are almost screamingly sinister - but those are balanced by gentler moments that have more of a sense of harmony - and it's that contrast that really makes the record stand out, especially on tunes where the guitar might be playing all these really spooky lines, but an accompanying flute line graces things with a sense of innocence - one that might not even be present in the lyrics…

Lou Donaldson - The Complete Blue Note Lou Donaldson Sessions 1957-60 (2002) {6CD Set, Mosaic MD6-215}
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© 1957-60, 2002 Mosaic Records / Blue Note / Capitol | MD6-215
Jazz / Hard Bop / Saxophone

A soul survivor in every sense of the term, this alto saxophonist is one of the few remaining jazz artists who made a major impact on the jazz community via an extensive run with producer Alfred Lion and the Blue Note label (Horace Silver being another Blue Note legend that comes to mind). From his first recordings for the label with Art Blakey's Jazz Messengers, it was clear that Lou Donaldson put melody and sound at a premium, coming up with an amalgam that combined the creamy smoothness of Johnny Hodges with the quicksilver bop inflections of Charlie Parker.