Archive for the Julian “Cannonball” ADDERLEY Category

Cannonball ADDERLEY – Sophisticated Swing The EmArcy Small Group Sessions 1958

Posted in JAZZ, Julian "Cannonball" ADDERLEY on December 20, 2010 by whoisthemonk

Cannonball ADDERLEY – Sophisticated Swing The EmArcy Small Group Sessions 1958
Recorded between July 12, 1956 and March 6, 1958
1995 Issue.


This fine re-issue celebrates the complete output of the first Cannonball Adderley Quintet co led by brother Nat. Four LP’s in total – To the Ivy League, Sophisticated Swing, Cannonball Adderley Enroute and Cannonballs Sharpshooters. Supporting players include Junior Mance(pno) Sam Jones or Al McKibbon (Bs) and Specs Wright or Jimmy Cobb (dms). Cannonball’s greatest moments may have been with Miles Davis on SOMETHING ELSE(BLUE NOTE) or MILESTONES and KIND OF BLUE(Columbia) but on this re-issue his punchy attack, fabulous swing, and distinctive sound are a real treat. If there’s one thing that’s memorable about this music it’s the damn swagger, the sense of joie de vivre that this group had. It may be not as distinguished as the Clifford Brown/Max Roach Quintet (there’s no Parisienne Thoroughfare here)but it’s in the same ball park. The supporting musicians are perfectly suited to this approach and if Jimmy Cobb and Cannonball wanted a night off from Miles’ intensity at the time, this is the music I’d imagine they’d play for fun. There are 36 tracks(repeat 36 tracks) some as long as nine minutes all brilliantly remastered and this represents real musical value for money. Although the uptempo numbers tend to follow a format of Horn Chorus of the main theme, alto solo, cornet solo, piano solo, bass solo, drum break(maybe)horn chorus of the main theme, coda and out, there are tracks which just feature Cannonball (he brings to the ballad What’s New an appropriate sardonic humour which exactly fits the lyric as interpreted by say Peggy Lee)but some of the arrangements are by genius Ernie Wilkins and there are some wonderful surprises like the medium tempo romp of Straight No Chaser which has a brilliant alto solo and a truly soulful beautifully expressed cornet solo by Nat, as if he’s saying on the horn “Monk – I Love You.” In summary, there’s not a dud track on this double CD issue; the swagger and panache of a player completely in control of his art and craft is evident in every note Cannonball plays; brother Nat is a joy, and all supporting players hang in there with aplomb. One of my best buys of 1998.
By Ian Muldoon.
“Sophisticated Swing” was not only my first exposure to Cannonball but to the whole hard-bop, soul-jazz idiom that took hold in the mid-fifties (Blue Note recordings, for some reason, didn’t make it up into northern Wisconsin–but apparently EmArcy didn’t make it to All Music Guide, which doesn’t even list the session). Next I picked up, also on EmArcy, “Cannonball Enroute.” These two albums and two more Emarcys are collected on this 2-disc collection, so 20 bucks is a nice price.

As for the music, it’s for the most part a more “commercial,” flashy and showy side of Cannonball assisted by the Bobby Timmons-led rhythm section, punctuated by brother Nat’s stratospheric work on cornet. Listening to it today, I find the funk a bit overdone and the playing quite obvious (on “Stella By Starlight” Cannonball plays nothing but straight melody using his loudest and fattest timbre). I have practically all of the Adderley-led quintet and sextet sessions on Riverside, but again the most enduring and memorable Cannonball is to be found on his sessions with Miles (“Somethin’ Else,” “Kind of Blue,” “Milestones”), Bill Evans (“Know What I Mean”), Coltrane (“In Chicago”), Milt Jackson (“Things Are Getting Better”). With his own touring groups, Cannonball had a tendency to bulldoze through the sets, determined to make a connection with the crowd (which became an ever greater challenge as the 60s wore on–one of the reasons Sonny Stitt simply traveled from city to city as a free agent, forever on the lookout for decent-sounding local rhythm sections).

Perhaps the essence of Cannonball Adderley is best captured on “Cannonball Takes Charge,” a 1959 session with Cannonball’s the only horn supported by a Wynton Kelly rhythm section. The gospel-funk elements are all there but emerge naturally from the inspired playing of all hands. The wonder is that this varied and vibrant session was not selected by Keepnews to be part of last year’s Riverside reissue series (it’s presently available on Capitol). For an especially revealing listening experience, compare this alto + rhythm set with the same instrumentation on the 2008 Sonny Stitt reissue, “Don’t Call Me Bird,” also from 1959. Stitt centers his sound; Cannonball embraces it, capturing center, margins and all. Stitt perfects then assembles each polished melodic-harmonic cell into a flawless, pyrotechnical design; Cannonball generates a tidal wave or jet stream, then rides its force as far as it can take him (one of the reasons he gets farther than Sonny on near-modal tunes like “If This Isn’t Love” not to mention “So What”). Stitt is Bird filtered through Bud Powell and equally Art Tatum; Cannonball is Bird by way of Rev. C.L. Franklin and James Brown.
By Samuel Chell.
Reissued in this two-CD set are all of the recordings from the first Cannonball Adderley Quintet, a group that despite its talents failed commercially. With Cannonball on alto, cornetist Nat Adderley, pianist Junior Mance, bassist Sam Jones, and drummer Jimmy Cobb, it is surprising that the group did not make it, but the Adderleys were fairly unknown at the time. The music is quite bop-oriented, bluesy but not as soulful as it would be when Cannonball put together a new group in 1959. This set reissues all of the music originally included on Nat Adderley’s To the Ivy League From Nat, and Cannonball’s Sophisticated Swing, Cannonball Enroute, and Sharpshooters (except for one trio feature without the horns) plus a few cuts not released until the CD era. The generous reissue not only gives one a fine sampling of the first Cannonball Adderley Quintet but everything they recorded. Highly recommended to bop fans. ~ Scott Yanow
This two-disc compilation of material recorded in the mid-’50s for New York’s EmArcy Records covers Julian Cannonball Adderley’s earliest years as a bandleader on New York’s hard-bop scene. Sophisticated Swing shows that although the alto saxophonist was a hard-bop star, he never limited himself to that hard-edged, bluesy style.
Heavily influenced by the Miles DavisGil Evans Birth of the Cool band and by the Modern Jazz Quartet, Adderley essays a number of ballads here. He favors a lush, rounded tone not unlike Benny Carter’s. Adderley’s band features renowned bassist Sam Jones and the saxophonist’s cornetist brother, Nat. Jones plays cello on several of the ballads, giving them an unusual sound that prefigures third stream, a jazzclassical hybrid style popular later in the decade. The aptly titled Sophisticated Swing features all of Adderley’s EmArcy recordings, with remastered sound.
Cannonball Adderley- (Alto Sax)
Nat Adderley- (Cornet)
Junior Mance- (Piano)
Sam Jones, Al McKibbon- (Bass)
Jimmy Cobb, Specs Wright- (Drums)
Cd 1:
01. Bimini- Cannonball Adderley 3:42
02. Sermonette- Nat Adderley 3:37
03. Hoppin’- John Nat Adderley 2:18
04. Hayseed- Nat Adderley 3:07
05. Rattler’s- Groove Cannonball Adderley 3:27
06. Jackleg- Nat Adderley 3:51
07. Room #251- Cannonball Adderley 2:47
08. The Fat Man- Cannonball Adderley 3:32
09. Yesterdays- Nat Adderley 2:55
10. Sam’s Tune- Cannonball Adderley 3:33
11. Sam’s Tune- Nat Adderley 3:07
12. The Nearness Of You- Cannonball Adderley 6:22
13. Spectacular- Cannonball Adderley 3:56
14. Miss Jackie’s Delight- Cannonball Adderley 6:16
15. Tribute To Brownie- Cannonball Adderley 3:32
16. Cobbweb- Cannonball Adderley 2:44
17. 18th Century Ballroom- Cannonball Adderley 3:58
18. Lover Man (Oh, Where Can You Be)- Cannonball Adderley 3:59
19. A Foggy Day- Cannonball Adderley 3:51
20. Hoppin’ John- Cannonball Adderley 4:40
21. Jeannie- Cannonball Adderley 3:26

Cd 2:
01. The Way You Look Tonight- Cannonball Adderley 4:28
02. Porky- Cannonball Adderley 4:00
03. Another Kind Of Soul- Cannonball Adderley 3:40
04. Spring Is Here- Cannonball Adderley 3:48
05. That Funky Train- Cannonball Adderley 5:54
06. Edie McLin- Cannonball Adderley 5:19
07. Our Delight- Cannonball Adderley 4:40
08. Jubilation- Cannonball Adderley 5:30
09. What’s New?- Cannonball Adderley 5:07
10. Straight No Chaser- Cannonball Adderley 8:32
11. If I Love Again- Cannonball Adderley 5:29
12. I’ll Remember April- Cannonball Adderley 5:35
13. Fuller Bop Man (Long Version)- Cannonball Adderley 8:59
14. Fuller Bop Man (Short Version)- Cannonball Adderley 3:46
15. Stay On It- Cannonball Adderley 4:39

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Cannonball ADDERLEY – Live in '63 2008 (AVI)

Posted in JAZZ, Julian "Cannonball" ADDERLEY, MOVIES on December 3, 2010 by whoisthemonk

Cannonball ADDERLEY – Live in ’63 2008 (AVI)
(Jazz Icons)


What is the greatest hard bop jazz standard? Some might argue for Bobby Timmons’ “Moanin'” as performed by the composer and Art Blakey and the Jazz Messengers. Others may hold out for Joe Zawinul’s “Mercy, Mercy, Mercy” or Richard Carpenter’s “Walkin'” as perfomed by Miles Davis. Still others are attached to Horace Silver’s “The Preacher” while yet another group is equally adamant in its devotion to “The Sidewinder” by Lee Morgan. Well, I place my vote for “Work Song,” on which composer-cornetist Nat Adderley incorporates all of the elements of funk, church, soul, gospel, and grease that one could possibly cram into a single hard-bop composition. What a pleasure to see the Cannonball Adderley Sextet in Switzerland and Germany performing the standard at the top of their game in 1963.

Black and white footage (as this release is) is a powerful nostalgic stimulant, prompting those of a certain age (Baby Boomers) to recall the 8mm home movies of their youth not to mention the hip film noir look of 1940s Humphrey Bogart movies. Looking at such footage today is always a moving experience because of the relative youth of the films’ subjects. Striking here is Joe Zawinul (31 at the time), whose acoustic chops were fully formed here if not as evolved as they would be in the ’70s and beyond, so different from the electric-fusion Austrian sage he would become. Also very dapper is Yusef Lateff, looking every bit the college professor as he played his trademark oboe on the band standard “Trouble in Mind.” But that instrument in a jazz role is no less a novelty today as it was then. Lateef’s true long coat is his fine flute and tenor saxophone playing, which he displays copiously on this DVD release.

As for the two principals, brothers Julian and Nathaniel show why they were so successful in the hard bop/soul-jazz arena. Their typical performance book contained classics, here represented by two performances each of Nat’s “Jive Samba” and Quincy Jones’ “Jessica’s Day,” Oscar Pettiford’s “Bohemia After Dark,” and Dizzy Gillespie’s “Dizzy’s Business.” Nat Adderley’s coronet is sharp and true as is his brother’s alto saxophone. Julian Adderley emerged in the wake of the death of Charlie Parker, whose shadow still stretches large over the jazz landscape. Recognition of his talent, while present, was attenuated by Parker’s reputation. Julian Adderley was certainly influenced by Parker, but went on to forge a sound that belongs to him alone, as evidenced in these performances.
By C. Michael Bailey.
It’s a special kick to see and hear these two performances of the 1963 Cannonball Adderley sextet. The energy and joie de vivre that all Adderley-led combos had is multiplied by Yusef’s versatile mastery, the nonpareil rhythm section and a chance to witness again the talent of the young Joe Zawinul.

When Cannonball Adderley and his brother Nat arrived from Florida in late June of 1955, sat in with Oscar Pettiford’s band at the Cafe Bohemia and knocked everyone out, word spread quickly within the jazz community. It must have been the next night that I went down to hear him and he certainly lived up to his newly-hatched reputation. After the first set he was holding court on the curb in front of the club on Barrow Street. I joined the knot of people around him. He was naturally gregarious, effusive and witty. Some of the conversation touched on Bird, but not about Cannon being the new Bird.

I knew him casually when he and Nat were touring with their quintet. After he joined Miles there were more opportunities in New York and Newport to get better acquainted.
By Ira Gitler.
Cannonball Adderley boasts two beautifully filmed concerts from one of the most celebrated sextets in jazz history, captured at the top of their game. Cannonball Adderley (alto sax), Nat Adderley (cornet) and the masterful Yusef Lateef (tenor sax, flute, oboe), provide a massive three-horn frontline attack, while the stellar rhythm section featuring a pre-Weather Report Joe Zawinul (piano), Sam Jones (bass) and Louis Hayes (drums) fuel the songs with a deep infectious swing. Quincy Jones’ “Jessica’s Day” leaps from the gate with a huge “big band” sound that is extraordinary for only six musicians. This DVD is a reminder that Cannonball Adderley was one of the most outstanding and highly respected alto saxophonists in the history of jazz, a blues-based jazzman who could play anything in superb fashion.
This is Cannonball’s little big band with three horns out front performing compositions of Oscar Pettiford, Ernie Wilkins, and Quincy Jones, among others. Multi-instrumentalist and superbly talented Yusef Lateef is featured throughout these concert performances along with the band’s brass section – to quote Cannonball Adderley – , cornetist Nat Adderely. The classic and most highly celebrated Cannonball Adderley rhythm section of bassist Sam Jones, drummer Louis Hayes, and pre-Weather Report pianist Joe Zawinul is on full display throughout these performances. This collection is a reminder that Cannonball Adderley was one of the most outstanding and highly respected alto saxophonists in the history of jazz, a blues-based jazzman who could play anything in superb fashion.
I didn’t know what to think of a dvd with video and music recorded in 1963. This is quite a shocker! The quality is great, and the music is superb. Cannonball is accompanied by his brother Nat and Yusef Lateef. The rhythm section is hot and the jazz is all too cool.
By Marvin Bell.
The band opens with Quincy Jones’ “Jessica’s Day,” (or as Cannonball calls it: “Jessica’s Birthday”) a hard bop composition that with tight horn work and a bit of arrangement takes on a 1940s big band feel, especially with its spirited riffing behind the soloists. Cannonball’s solo has an uncharacteristic gruffness, as if Lateef’s previous solo has rubbed off on him. Joe Zawinul’s accompaniment is especially fine here, showing a belief in funk that would largely disappear from his playing once he left the Adderleys. “Angel Eyes” is a feature for Lateef’s flute, not the most improvised of Lateef’s solos on this outing, but one in which he demonstrates his beautiful tone on the instrument along with his range of effects—a low, pulsing, soulful sound, set off by occasional vocalizations through the horn. Zawinul also offers a brief, but finely crafted solo line. The fact that Cannonball would program a slow ballad this early in the set shows his trust in Lateef to bring something special to the performance. He called it the ability to “project,” to play “through the horn and not just in the horn,” to reach an audience as one of a series of strong individuals in a group.

“Jive Samba” appeared at that moment in the early 1960s when the Brazilian bossa nova and black soul music were both reaching the hit charts. (Cannonball had, just the year before, recorded a bossa nova album with Brazilian musicians in New York.) Nat’s composition caught the spirit of that moment in pop music, but also managed to evoke the same kind of modal simplicity that is heard in Miles Davis’ Kind Of Blue album, by working two chords against each other. Rhythmically, it is not a true samba (thus the “jive” appellation), and is instead grounded somewhere between Brazil, Cuba, and the land of rhythm and blues. Simple as it is harmonically and rhythmically, “Jive Samba” manages to provide a constant source of new ideas among the musicians. By spacing the recurrent hammering of the same chords between instrumental breaks, it moves without an apparent end in sight, until it fades, making it the sort of piece the Italians once labeled perpetuun mobile. This band never seemed to tire of playing it night after night, and Zawinul seems especially inspired by this minimalist harmonic material.

“Bohemia After Dark,” an Oscar Pettiford composition that memorialized his nights at the Café Bohemia, takes the Adderley brothers back to one of their first recorded pieces. Here it’s given the Davis treatment of speeding up older songs to give them new life and reaches an almost inhuman tempo. Cannonball seems to be able to handle it most comfortably among the horn players, and even he sputters a bit and leaves some spaces in what for him is a short solo. Only Louis Hayes, bless him, can manage to create fresh ideas for a stretch of time at that speed, suggesting that the group sacrificed something for his feature spot.
Julian “Cannonball” Adderley- (Alto Sax)
Nat Adderley- (Cornet)
Yusef Lateef- (Tenor Sax, Flute, Oboe)
Joe Zawinul- (Piano)
Sam Jones- (Bass)
Louis Hayes- (Drums)
Live in Switzerland 1963:
01. Jessica’s Birthday
02. Angel Eyes
03. Jive Samba
04. Bohemia After Dark
05. Dizzy’s Business
06. Trouble In Mind
07. Work Song
08. Unit 7

Live in Germany 1963:
01. Jessica’s Birthday
02. Brother John
03. Jive Samba

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Cannonball ADDERLEY – Phenix 1975

Posted in JAZZ, Julian "Cannonball" ADDERLEY on November 30, 2010 by whoisthemonk

Cannonball ADDERLEY – Phenix 1975
1999 Issue.
Big THX to *DAVE*


Adderley’s next-to-last recording (cut just four months before he died of a stroke at age 46) was ironically a retrospective of his career. While his then-current group (with cornetist Nat Adderley, keyboardist Mike Wolff, bassist Walter Booker, and drummer Roy McCurdy) was featured on half of this two-LP set (highlighted by “Stars Fell on Alabama,” “74 Miles Away,” and a medley of “Walk Tall” and “Mercy, Mercy, Mercy”), on the remainder of this two-fer the Adderleys welcome back several alumni (keyboardist George Duke, bassist Sam Jones, and drummer Louis Hayes) for new versions of “High Fly,” “Work Song,” “Sack O’Woe,” “Jive Samba,” “This Here,” and “The Sidewalks of New York.” A recommended set with plenty of excellent music, it serves as a fine overview of Cannonball Adderley’s career.
By Scott Yanow. AMG.
Released shortly after Julian “Cannonball” Adderley’s death in August of 1975, this oddly named live, double album captures a show from the alto saxophonist’s final tour. PHENIX features the final lineup of Adderley’s long-running band, anchored by his cornetist brother Nat and electric keyboardist George Duke. Airto Moreira flavors the groove-oriented proceedings with his inimitable congas and hand percussion.

PHENIX, a joyful and funky walk through Adderley’s songbook, stretches all the way back to his hard-bop recordings of the ’50s. Almost all of his most beloved songs are here–“Jive Samba,” “Work Song,” “Country Preacher,” and of course his hit “Mercy Mercy Mercy”–performed with Adderley’s usual fire and grace. The band is absolutely on, tight and swinging, and the sound quality is excellent. One of the better live jazz albums of its era.
Sweet funky 70s work from Cannonball Adderley – a record that has him revisiting older tunes from his early soul jazz years – but in ways that give them a whole new electric vibe overall! The album’s actually Cannonball’s last full studio set, but it’s also one of his greatest too – a very hip little record that features arrangements that are slightly bigger than before – almost a CTI sort of mode, with a similar CTI sense of space, sound, and timing! There’s some great keyboards on the set – courtesy of George Duke and Mike Wolff – and other players include Nat Adderley on cornet, Airto on percussion, Sam Jones and Walter Booker on bass, and Louis Hayes and Roy McCurdy on drums. The keyboards lead off most numbers, but they’re followed strongly by Cannon and Nat – both of whom open up wonderfully in the magical setting of the record! Titles include great new takes on “Sack O Woe”, “Work Song”, “Jive Samba”, “74 Miles Away”, “Walk Tall/Mercy Mercy Mercy”, “Country Preacher”, “Domination”, and “This Here” – plus “Hi Fly” and “Hamba Nami”.
From Dusty Groove.
Two months before his unfornuate death, Julian “Cannonball” Adderley was fortunate to be able to provide to his listeners a new style of playing involving long melody statements, funky rhythms and electronics. In PHENIX Cannonball revisits the past and records new versions of his earlier numbers such as MERCY,MERCY,MERCY and WORK SONG. Along with revised versions of his older songs, Cannonball can also be heard playing the soprano saxophone rather than his primary instrument, the alto saxophone.
By Douglas N. Hachiya.
Cannonball Adderly, without any question, could have been the funkiest sax player to ever hit the jazz world. When I picked up this 2-LP set on vinyl, I was astonished to see Cannonball Adderly take a whole new shape and form.

Unlike his previous works with Art Blakey and Miles Davis, like “Somethin Else”, this album takes a more contemporary approach. Cannonball uses some synthesizer effects and electric piano sounds, making his compositions more than just straight jazz – but instead a mixture. From the opening track to the concluding song, Cannonball Adderly’s ability to innovate and astound can be seen. Particularly on the 4th track, implementing all sorts of exotic hand drums and unique feels, Cannonball Adderly can be literallly seen at the top of his game. There is no doubt in my mind that Cannonball Adderly’s best work was on the Fantasy label, and this is probably the quintessential album to pick up from that era of his amazing musical career.

And, as other reviewers have mentioned, Adderly’s improvisation skills are top knotch. After all, he learned from the best! Having played in Miles Davis’ band for a pretty decent amount of time, Cannonball Adderly is quite the professional sax player. What’s unique about his playing is that he decides to lower the volume of his sax, allowing the other instruments to be heard. Unlike many other sax players, like John Coltrane, for example, Adderly used his sax just like the drummer or the bass player would use their instruments — as a collaboration to contribute to the craft of the song. Most other sax players from this time were much more focused on than the other instruments in their bands, making for a completely different type of sound. However, this does not discount Adderly’s improvisation! This is where it gets incredible. He still creates exemplementary results, even though he is at the exact same focus and volume level as the rest of the instruments. While he doesn’t give a whole lot more room to the rest of the musicians, it is evident that Adderly took the opportunity in creating unique, one-of-a-time rythms in order to take the best advantage of the musicians he was working with.

This is a true jazz gem. Slightly underrated, and very, very important addition to any fan’s collection.
By G.
Cornet, Producer- Nat Adderley
Keyboards- Mike Wolff (tracks: 7 to 12)
Keyboards, Synthesizer- George Duke (tracks: 1 to 6)
Mixed By [Remix]- Cannonball Adderley , Jim Stern , Nat Adderley , Orrin Keepnews
Percussion, Congas [Conga Drums]- Airto Moreira
Saxophone [Soprano & Alto], Producer- Cannonball Adderley
Synthesizer- George Duke (tracks: 8, 10, 12)
Double Bass- Sam Jones (tracks: 1 to 6)
Double Bass, Bass- Walter Booker (tracks: 7 to 12)
Drums- Louis Hayes (tracks: 1 to 6) , Roy McCurdy (tracks: 7 to 12)
01. Hi-Fly  6:04
Composed By – Randy Weston
02. Work Song  6:28
Composed By – Nat Adderley
03. Sack O’ Woe  5:06
Composed By – Julian Adderley
04. Jive Samba  5:19
Composed By – N. Adderley
05. This Here  7:12
Composed By – Bobby Timmons
06. The Sidewalks Of New York  5:37
Arranged By – J. Adderley
Composed By – Lawlor , Blake
07. Hamba Nami  5:24
Composed By – J. Adderley
08. Domination  6:55
Composed By – J. Adderley
09. 74 Miles Away  5:58
Composed By – Josef Zawinul
10. Country Preacher  4:26
Composed By – Zawinul
11. Stars Fell On Alabama  5:48
Composed By – Perkins , Parish
12. Walk Tall / Mercy, Mercy, Mercy  7:28
Composed By – Marrow , Rein* , Zawinul

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Cannonball ADDERLEY – Cannonball Adderley's Fiddler On The Roof 1964

Posted in JAZZ, Julian "Cannonball" ADDERLEY on November 23, 2010 by whoisthemonk

Cannonball ADDERLEY – Cannonball Adderley’s Fiddler On The Roof 1964
1972 Issue. ST-11008

It is a bit strange that none of the eight songs performed on this LP found their way into Adderley’s permanent repertoire for the altoist is quite inspired throughout this surprising set. With strong assists from cornetist Nat Adderley, Charles Lloyd on tenor and flute, pianist Joe Zawinul, bassist Sam Jones and drummer Louis Hayes, Cannonball plays near his peak; this is certainly the finest album by this particular sextet.
By Scott Yanow. AMG.
Once again, Cannon proves that it’s not the song, it’s the singer! This set of tunes from the hit musical Fiddler On The Roof should be schmaltzy — but thanks to the quality of the group (a great sextet with Nat Adderley, Charles Lloyd, Joe Zawinul, Sam Jones, and Louis Hayes), and thanks to some hip production from David Axelrod, the album really sparkles! The tones of Cannon and Lloyd are great together — and the make the best songs sound like strange Eastern-tinged jazz numbers. Tunes include “To Life”, “Fiddler On The Roof”, “Cajvalach”, “Sewing Machine”, “Matchmaker”, and “Now I Have Everything”. (Rainbow label pressing. Vinyl has a mark that clicks on Side 1. Cover has some staining on each side near the bottom seam & a cutout hole.)
From Dusty Groove.
Fiddler on the Roof is  the longest-running, most-beloved musical in Broadway history, (2) a smash motion picture directed by Norman Jewison and starring the Israeli-actor Topol, and (3) now an exceptional-if surprising -jazz vehicle for Cannonball Adderley.

Not surprisingly, the unpredictable Cannon performs the warm, uplifting Sheldon Harnick-Jerry Bock score with style and sentiment, and a lot of help from his extremely talented friends-namely, Nat Adderley, Charles Lloyd, Joe Zawinul, Sam Jones and Louis Hayes.

It is rather improper to single out certain tracks and solo performances for special praise. Instead, the entire album should be enjoyed-as an exciting marriage of superb material, fragrant mood and riveting artistry.

Titles of three selections in this package do, however, require explanation.Fiddler on the Roof in the show itself is also called Tradition. The Bolero-tempered Chavalah is strictly a dance sequence in the show, and does not appear in the original cast recording. Cannon, however, found it perfect in the context of this recording. Sewing Machine was deleted prior to the Broadway opening, but Cannon liked it so much he felt that it too should be included on this date.
One of the melodies I’ve heard in my pre-teenage years and am still able of humming today was “If I Were a Richman” from the film adaptation of Fiddler on the Roof; but if that trailer ‘s soundtrack having been forever embedded in my memory is a mere personal testimony that proves the movie did immortalize the musical 7 years after its opening,  one of the very first persons to have realized its immense potential was Cannonball, who scarcely a month after that date was ready to enter the studio to record his own arrangements of Jerry Bock’s originals.
To discover this album so many years after those TV viewings  in the  early 70s was an almost moving experience, in that, and although the mentioned number is not included in Cannonball’s selection, some melodic segments such as those  on “Chavalah” brought back visual memories of the red-bearded Jewish father of five joyously singing perched on a roof top.

The rich harmonic content of the songs was a magnificent playground for Cannonball, brother Nat Adderley and Charles Lloyd to unleash striking improvised statements and to breed new life into their immortal melodies with an emotional expressivity as only the most outstanding interpreters can achieve.
Same as the multiple emotions and contradictory states of mind a father goes through while trying to keep his family together and living according to sacred ancestral traditions, so does this album conveys a large spectrum of moods: it is bookended by the lengthiest tracks, two pulsing hard-boppers, the title track after an hoping staccato theme taken to stellar heights by the successive solos of the leader, Nat and Lloyd, interspersed by a brief unison arrangement and brought back to reality by an earthy Joe Zawinul piano rendition; and “Matchmaker, Matchmaker” its theme stated by the flute with the alto occasionally swirling around, attacked by liquid contrapunctual arrangements by trumpet, sax and piano and fed by concise but vigorous trumpet, flute and piano solos.

A pair of tracks are like a family affair, Nat muted trumpet delineating the joyous “To Life” theme under the surveillance of the perspicacious Zawinul, before Cannonball injects the mid-tempo swing with a dose of resurrecting arguments, a bring-a-dead-man-back-to-life treatment he also applies to the brisk Jazz-waltz  of “Sewing Machine” with a scorching solo duly propelled by the turbulent drumming of Louis Hayes, the propulsive bass of Sam Jones and punctuated by a bouncing Zawinul.

Depicting both the feelings of a freshly wedded couple and those of one on its 25th anniversary, are the genuinely passionate love poem Cannonball sings on his alto on “Now I Have Everything”, sensitively embellished by the flute, and the gentle and tender tenor work of Lloyd embellished by the piano and anchored by lingering bass punctuations on “Do You Love Me” a couple of moving ballads the more romantic will fall in love with.
Yet on different mind sets are the both charming and mournful “Sabbath Prayer”, with the saxes moving around the main trumpet melody accompanied by the funeral like march tempo of the rhythm section, and the calm bolero of “Chavalah” opened by the flute and soon joined in a broken unison by the horns atop a smoothly martial looping rhythm pattern, making this an album rich with contrast that may only disappoint those who only like their Cannonball on “full exuberance mode”.
Cannonball Adderley- (Alto Sax),
Nat Adderley- (Trumpet, Cornet),
Charles Lloyd- (Tenor Sax, Flute),
Joe Zawinul- (Piano),
Sam Jones- (Bass),
Louis Hayes- (Drums).
A1. Fiddler on the Roof  7:20
A2. To Life  5:05
A3. Sabbath Prayer  3:12
A4. Chavalah  2:50
B1. Sewing Machine  3:31
B2. Now I Have Everything  4:08
B3. Do You Love Me?  4:58
B4. Matchmaker, Matchmaker   5:30

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Julian "Cannonball" ADDERLEY – With Nat Adderley, Hank Jones, Paul Chambers, Kenny Clarke 1955

Posted in Hank JONES, JAZZ, Julian "Cannonball" ADDERLEY, Kenny CLARKE, Nat ADDERLEY, Paul CHAMBERS on November 16, 2010 by whoisthemonk

Julian “Cannonball” ADDERLEY – With Nat Adderley, Hank Jones, Paul Chambers, Kenny Clarke  1955
1994 Issue. Jazz Heritage 513691F


This set has altoist Cannonball Adderley’s first recordings as a leader, following by 16 days his memorable appearance on a session headed by drummer Kenny Clarke. Already at this early stage, Adderley was a powerful player with a soulful sound that was almost distinctive. His exuberant style is heard on five selections (highlighted by “Spontaneous Combustion” and “A Little Taste”) in a quintet with his brother Nat on cornet, pianist Hank Jones, bassist Paul Chambers and drummer Kenny Clarke. A very impressive beginning to a memorable career. [Originally released in 1955, Presenting Cannonball was re-released on CD in 2005.
By Stephen Reddy.
I am writing this in the hope that when you do pick up this album in your favorite record store, that you will take the opportunity to listen to a bit of it. Just a couple of choruses by “CANNON BALL” will be enough to assure you of his stature as a Jazzman. This is not necessarily an introduction to “CANNON BALL” as he was introduced on records via a previous album called “BOHEMIA AFTER DARK,” SAVOY MG-12017, which was just released a week before this. If you’ve already heard that album, you are sure to pick up this one also as here “CANNON BALL” is given quite a bit more time to express himself as this album features less horns, two, as against four in the “BOHEMIA AFTER DARK” Album. What I’m trying to say is that this is “CANNONBALL’s” date and, as a leader, he blows more solos than do his very capable assistants. His brother, Nat, is blowing Cornet, yeah, I said Cornet. It sounds like Trumpet, but I guess there is a slight difference to a guy that blows Cornet. I don’t think I would guess which was the Trumpet or Cornet if I were given a blindfold test. Could you?
Nat tells me he gets more facility on Cornet that’s why he made the change from Trumpet. Beside blowing some of the most exciting Jazz today, Nat collaborated with Julian on “SPONTANEOUS COMBUSTION” and “STILL TALKIN’ TO YA.” “A LITTLE TASTE” and “CARIBBEAN CUTIE” are by Julian
Paul Chambers is the Bassist on these sides and he’s a joy to hear. This is a Detroit youngster who will go a long way in our Jazz field (at this writing he was 20 years old). He blows just as well whether he’s pickin’ or bowing and his ideas are wonderful. He certainly is an asset to this group.
What can I say about Hank Jones and Kenny Clarke? I’m sure that by now you all know of their talents and to compliment them again would only be repetitious. For those of you that haven’t yet realized their talents, I can only suggest that you listen. We, at Savoy, are proud that we are able to present another fine Jazz recording to you, the Jazz Enthusiast, and we sincerely hope that this will give you many, many hours of listening pleasure. ”
By Ozzie Cadena.
JULIAN “Cannonball” Adderley- Alto
Hank Jones- Piano
Nat Adderley -Cornet
Paul Chambers- Bass
Kenny Clarke Drums
01. Spontaneous Combustion   10:06
02. Still Talkin’ to Ya   8:58
03. A Little Taste   5:06
04. Caribbean Cutie   7:06
05. Flamingo   7:06

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