Jazz
Still immersed in the burgeoning electronic jazz-rock explosion of the times, Cannonball Adderley goes further toward a rapprochement with the rock and soul audiences than ever before on this fascinating, overlooked double album. For starters, he recorded it live at West Hollywood's Troubadour club, then known as a showcase for folk and rock acts. He also imported additional players into his quintet, expanding into exotic percussion effects with Airto Moreira (whom Miles Davis had previously featured), hard rock guitar with sessionman Mike Deasy, fiery tenor sax from the young Ernie Watts, and occasional seasoning from conguero Buck Clarke and clarinetist Alvin Batiste. "Now I don't give a damn whether you can count or not, we still are the Cannonball Adderley Quintet!," quoth the leader, who is in loose, loquacious form throughout the set (the jazz world badly misses his witty verbal intros). With Joe Zawinul now flying off to Weather Report, his replacement is an even more electronically minded pianist, George Duke, who levitates into the outer limits with his Echoplex and ring modulator and proves to be a solid comper. But Zawinul is not forgotten, for the band pursues a long, probing, atmospheric excursion on his tune, "Dr. Honouris Causa." Adderley generously gives Deasy two contrasting feature numbers — "Little Benny Hen," a raucous, amateurishly sung blues/rock piece, and "Zanek," a great countrified tune with an avant-garde freakout at the climax — and all of the other guests save Clarke get single solo features. Brother Nat Adderley gamely visits the outside on cornet, not always convincingly, while Cannonball doubles with increasing adventurousness on soprano and alto and bassist Walter Booker and drummer Roy McCurdy deftly handle all of the changes of style. Cannonball adeptly keeps pace with Miles Davis, his former boss — the driving "The Chocolate Nuisance" could easily be a first cousin of "Pharoah's Dance" on Bitches Brew — while not abandoning his funky soul-jazz base nor the special audience-friendly ambience of his concerts. Unlike Adderley's other two-for-one-priced double albums of the '70s, this one was inexplicably sold at full price, which probably limited its sales and might partly explain why it remains surprisingly hard to find in used LP bins. But interest in the early jazz-rock period ought to provoke a CD reissue.
By Richard S. Ginell.AMG.
**
Factory Sealed 1972 2LP Gatefold Original. Cannonball Adderley Goes Further Toward A Rapproachement With The Rock And Soul Audiences Than Ever Before On This Fascinating, Overlooked Double Album. For Starters, He Recorded It Live At West Hollywood's Troubadour Club, Then Known As A Showcase For Folk And Rock Acts. He Also Imported Additional Players Into His Quintet, Expanding Into Exotic Percussion Effects With Airto (Whom Miles Davis Had Previously Featured), Hard Rock Guitar With Session Man Mike Deasy, Fiery Tenor Sax From A Young Ernie Watts, And Occasional Seasoning From Conguero Buck Clarke And Clarinetist Alvin Batiste. "Now I Don't Give A Damn Whether You Can Count Or Not, We Still Are The Cannonball Adderley Quintet!," Quoth The Leader, Who Is In Loose, Loquacious Form Throughout The Set (The Jazz World Badly Misses His Witty Verbal Intros). With Joe Zawinul Now Flying Off To Weather Report, His Replacement Is An Even More Electronically Minded Pianist, George Duke, Who Levitates Into The Outer Limits With His Echoplex And Ring Modulator And Proves To Be A Solid Comper. But Zawinul Is Not Forgotten, For The Band Pursues A Long, Probing, Atmospheric Excursion On His Tune, "Dr. Honouris Causa." Adderley Generously Gives Deasy Two Contrasting Feature Numbers — "Little Benny Hen," A Raucous, Amateurishly Sung Blues/Rock Piece, And "Zanek," A Great Countrified Tune With An Avant-Garde Freakout At The Climax — And All Of The Other Guests Save Clarke Get Single Solo Features. Cannonball Adeptly Keeps Pace With Miles With The Driving "Chocolate Nuisance" Which Could Easily Be A First Cousin Of "Pharoah's Dance" On Bitches Brew. Top Recommendation And Not Available On CD.
I guess this must be the post I have had the most requests to re-up since I first posted it in May 2006. I finally got it together to rip it again this time @320 from my original vinyl.
Still immersed in the burgeoning electronic jazz-rock explosion of the times, Cannonball Adderley goes further toward a rapprochement with the rock and soul audiences than ever before on this fascinating, overlooked double album. For starters, he recorded it live at West Hollywood's Troubadour club, then known as a showcase for folk and rock acts. He also imported additional players into his quintet, expanding into exotic percussion effects with Airto Moreira (whom Miles Davis had previously featured), hard rock guitar with session man Mike Deasy, fiery tenor sax from the young Ernie Watts, and occasional seasoning from conguero Buck Clarke and clarinetist Alvin Batiste.
"Now I don't give a damn whether you can count or not, we still are the Cannonball Adderley Quintet!," quoth the leader, who is in loose, loquacious form throughout the set (the jazz world badly misses his witty verbal intros). With Joe Zawinul now flying off to Weather Report, his replacement is an even more electronically minded pianist, George Duke, who levitates into the outer limits with his Echoplex and ring modulator and proves to be a solid comper. But Zawinul is not forgotten, for the band pursues a long, probing, atmospheric excursion on his tune, "Dr. Honouris Causa". Adderley generously gives Deasy two contrasting feature numbers -- "Little Benny Hen", a raucous, amateurishly sung blues/rock piece, and "Zanek", a great countrified tune with an avant-garde freakout at the climax -- and all of the other guests save Clarke get single solo features.
Brother Nat Adderley gamely visits the outside on cornet while Cannonball doubles with increasing adventurousness on soprano and alto and bassist Walter Booker and drummer Roy McCurdy deftly handle all of the changes of style. Cannonball adeptly keeps pace with Miles Davis, his former boss - the driving "The Chocolate Nuisance" could easily be a first cousin of "Pharoah's Dance" on "Bitches Brew" - while not abandoning his funky soul-jazz base nor the special audience-friendly ambience of his concerts.
Unlike Adderley's other two-for-one-priced double albums of the '70s, this one was inexplicably sold at full price, which probably limited its sales and might partly explain why it remains surprisingly hard to find in used LP bins. Surprisingly enough this has never made a cd issue. No reissues in any format.
Recorded Live at The Troubadour.
**
Alvin Batiste- (Clarinet)
Buck Clarke- (Drums African)
Mike Deasy Jr.- (Vocals)
Mike Deasy Sr.- (Guitar)
Ernie Watts Sax- (Tenor)
Cannonball Adderley- (Alto & Soprano saxophone)
Nat Adderley- (Cornet)
Roy Mac Curdy- (Drums)
Walter Booker- (Bass)
George Duke- (Piano, electric piano)
Airto Moreira- (Percussion)
**
01. Introduction :50
02. Black Messiah Duke 16:12
03. Monologue 2:20
04. Little Benny Hen Deasy 4:15
05. Zanek Deasy 5:07
06. Dr. Honouris Cousa Zawinul 14:48
07. Chocolate Nuisance Adderley, McCurdy 8:22
08. Untitled.. Moreira 6:21
09. Steam Drill Adderley 8:42
10. Eye of the Cosmos Watts 4:51
11. Episcode from the Music Came Battiste 2:39
12. Heritage Ellington 4:43
13. Circumference Duke 3:18
14. Pretty Paul Adderley 2:48
15. Scene Adderley, Zawinul 2:16
**
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