Cannonball ADDERLEY - Soul of the Bible 1972

Cannonball ADDERLEY - Soul of the Bible 1972
SABB-11120. 2 x Vinyl, LP
(This is for Keith Saunders,to listen one more time)

Jazz

Adderly worked with psychedelic cosmonaut David Axelrod among others and the religious themes which borrow from the Bible to the Bhagavad Gita and Buddhism make an interesting backdrop to the blues jazz rock fusion showcased on this double album. i've come back to this album more than a few times only to pick up on something new on the way. it's a fun idea to put cool religious/philosophical concepts over swinging seventies soul jazz fusion. not that the sermons are long and dominate the record - they don't . they usually just open a new set and leave you to marvel at some profound idea while the musicians do their thing after that! Somewhat similar or comparable to Mile's "Bitch's Brew" album, though perhaps less dark.
By C. Rocklein.
**
Prime material from Cannonball and David Axelrod -- and despite the biblical leanings of the title, the record is pretty darn funky! As they did for the Zodiac, Cannonball and Adderley take a trip through a host of cultural milestones -- stopping along the way to turn each one into a new pillar of soul, working with Rick Holmes, who narrates the set in the same way he did on the Zodiac albums. Brother Nat Adderley and George Duke are among the players in the album's very funky backing -- and tracks include Make Your Own Temple, Amani, Space Spiritual, Eternal Walk, and Gone. Oh for the days of the double LP concept jazz record!
**
Bass- Walter Booker
Bass [Electric]- Francisco Centeno
Drums- Roy McCurdy
Percussion- Airto Moreira , King Errisson , Mayuto Correa , Octavio
Piano, Electric Piano- Nat Adderley Jr.
Piano, Electric Piano [Rhodes]- George Duke
Trumpet [Cornet]- Nat Adderley
"Cannonball Adderley"- Alto Sax
**
A1. In The Beginning  1:20
A2. Yield  2:20
    Vocals - Olga James
A3. Obeah  7:36
A4. Fun In The Church  7:08
    Vocals - Fleming Williams
B1. The Eternal Walk  6:48
B2. Krukma  3:17
B3. Gone  4:00
B4. Behold  3:15
    Vocals - Arthur Charma
B5. Psalm 24  4:56
C1. Make Your Own Temple  5:58
C2. Taj  14:52
D1. Psalm 54  1:55
D2. Amani  11:35
    Vocals - Olga James
D3. Space Spiritual  7:30
    Vocals - Stephanie Spruill
**

NoPassword
*
DLink
*

Julian "Cannonball" ADDERLEY - At The Lighthouse 1960

Julian "Cannonball" ADDERLEY - At The Lighthouse 1960
"Lighthouse Club", Hermosa Beach, CA, October 16, 1960
RLP 9344

Jazz

The cool jazz that Miles Davis was forging around the same time gets more critical ink, but when a layman thinks about Jazz with a capital "J," the music that comes to mind probably sounds a lot like this 1960 club date from the Cannonball Adderley Quintet. Throughout the set the group shows off its chief assets: meaty rhythms and lively soloing with roots in both bebop and gospel. For the first time, it could also boast the presence of pianist-composer Victor Feldman. In addition to his tuneful-yet-conversational solos, Feldman contributes two of his own songs, the breezy "Azule Serape" (in his introduction, Adderley claims not to understand the title) and the antic "Exodus." The band handles both delicate numbers ("We think this one is kind of cute," Adderley says of "Blue Daniel") and more propulsive material (the boss' own classic, "Sack O' Woe") with equal parts vivacity and poise. Somethin' Else aside, the true brilliance of the Cannonball Adderley Quintet was best captured live in front of a small, appreciative audience. At the Lighthouse is an excellent document of soul-jazz at both its jazziest and most soulful.
By Daniel Browne.
**
Of all the amazing recordings Cannonball did with his many great quintets/sextets, this I feel is the best. In my opinion, the Adderley quintet records best when live, as this wonderful album proves. It all starts out with the finger-snapping groove of "Sack O' Woe", Cannonball's most famous composition. Every soloist really swings hard, and sets the tone for the rest of album. "Big 'P'", a Jimmy Heath tune written about his brother Percy, continues with the driving feel. Things then slow down a bit with the lovely jazz waltz "Blue Daniel", which shows a more sensitive side to Cannonball and the gang. Victor Feldman, the pianist on this recording, is the only new member of the quintet for this album (the rest are the same as in "Them Dirty Blues", another masterpiece") and he really shows off his compositional skills with the next two numbers, "Azule Serape" and "Exodus", two up-tempo burners. The album then comes to a swinging finish with an amazing version of "What is This Thing Called Love?". If you're a fan of any of Adderley's work or just love music that really swings, you'll love this one, guaranteed.
**
Julian "Cannonball" Adderley- (Alto Sax)
Nat Adderley- (Cornet)
Victor Feldman- (Piano)
Sam Jones- (Bass)
Louis Hayes- (Drums)
**
A1. Sack O´Woe 10:41
A2. Big "P" 5:55
A3. Blue Daniel 7:24
B1. Azule Serape 9:27
B2. Exodus 7:39
B3. What Is This Thing Called Love 4:43
**
NoPassword
*
DLink
*

Julian “Cannonball” ADDERLEY - Know What I Mean? 1961

Julian “Cannonball” ADDERLEY - Know What I Mean? 1961
1987 Issue OJCCD-105-2 (RLP-9433)
Recorded at Bell Sound Studios, New York, New York on January 27, February 21 and March 13, 1961

Jazz

Possibly the best of Julian "Cannonball" Adderley's many releases, 1961's KNOW WHAT I MEAN? finds the alto saxophonist in a different setting. Usually found fronting hard-bop combos featuring his brother Nat on cornet, Adderley is here accompanied by pianist Bill Evans, bassist Percy Heath, and Modern Jazz Quartet drummer Connie Kay. In these more placid surroundings, Adderley showcases an entirely different side to his playing.

Accompanied by Evans' impressionistic, watery piano and Kay's low-key drums, Adderley's lines are lighter and more peaceful than his usual bluesy tone. The opening "Waltz for Debby" and the moody "Who Cares" could pass for outtakes from Miles Davis' KIND OF BLUE, a record on which both Adderley and Evans had played. KNOW WHAT I MEAN? is something of an anomaly for Adderley, but it's a delightful one. This is an under-appreciated masterwork of modern jazz. The CD includes two alternate takes.(04,10)
**
Julian “Cannonball” Adderley- Alto Sax
Bill Evans- Piano
Percy Heath- Bass
Connie Kay- Drumm
**
01. Waltz For Debby (5:12)
02.Goodbye (Gordon Jenkins) (6:15)
03. Who Cares? (Take 5) (George & Ira Gershwin) (5:57)
04. Who Cares? (Take 4) (George & Ira Gershwin) (5:55)
05. Venice (John Lewis) (2:55)
06. Toy (Clifford Jordan) (5:08)
07. Elsa (Earl Zindars)(5:52)
08. Nancy (With the Laughing Face)(Van Heusen-silvers) (4:07)
09. Know What I Mean? (Re-Take 7)(Bill Evans) (4:54)
10. Know What I Mean? (Take 12)(Bill Evans) (7:01)
**
NoPassword
*
DLink
*

Julian "Cannonball" ADDERLEY Quintet - Mercy,Mercy,Mercy! Live At "The Club" 1967

Julian "Cannonball" ADDERLEY Quintet - Mercy,Mercy,Mercy! Live At "The Club" 1967
ST-2663
Recorded live at Capitol Studios, Los Angeles, California on October 20, 1966

Jazz

In Los Angeles during the fall of 1966, Cannonball Adderley and his crack quintet laid down one of the most joyous, defining statements in the history of hard bop. MERCY, MERCY, MERCY, recorded live before a select and very vocal audience at Capitol Tower's capacious Studio A, presages the funkybutt rhythm changes and hollering gospel testimonies that distinguish contemporary jazz and new jack fusion, but with a greasy vitality and cerebral harmonic elegance often lacking in today's imitations.

The Cannonball Adderley Quintet of 1966 was a juggernaut of swing. Whether romping through complex bebop variations ("Hippodelphia"), dipping into sanctified waters with a hot-wired boogaloo arrangement ("Sticks"), or combining the two moods in an exhilirating game of vamp and release ("Fun"), their years of bandstand experience added up to the kind of deep feeling that sequencers will never sample. On Cannonball's closing "Sack O' Woe," drummer Roy McCurdy, bassist Victor Gaskin and that unlikeliest of funkateers, the Austrian pianist Josef Zawinul (some four years before Weather Report), essay what seem like a compendium of the most celebratory church beats since the Civil War, as the altoist and his cornet-wielding brother testify fervently about better times coming.

But on an album full of toe-tapping, high-flying, good time music, it is Zawinul's classic title tune that pays the freight. "Mercy, Mercy, Mercy" was an unlikely top 10 hit, and inspired scores of jazz wannabes. Zawinul's use of the Wurlitzer electric piano gives "Mercy, Mercy, Mercy" much of its smoky, down-home, after-hours ambience. Yet, it's the telepathic interplay and supple dynamics of the rhythm section, and the ardent vocal amens of the Adderley brothers that give this tune such a classic glow.
**
Cannonball Adderley- (Alto Sax);
Nat Adderley- (Cornet);
Joe Zawinul- (Acoustic & Electric Pianos);
Victor Gaskin- (Bass);
Roy McCurdy- (Drums).
**
A1. Fun   8:26
A2. Games   7:19
A3. Mercy, Mercy, Mercy   5:10
B1. Sticks   3:54
B2. Hippodelphia   5:49
B3. Sack o' Woe   10:29
**
NoPassword
*
DLink
*

Julian "Cannonball" ADDERLEY (with Miles Davis) - Something Else 1959 (REPOST)

Julian "Cannonball" ADDERLEY (with Miles Davis) - Something Else 1959 (REPOST)

Jazz

Cut in 1958 for the Blue Note Lable, Somethin' Else is one of the all time great jazz albums. The personnel features Cannonball on alto, Miles Davis on Trumpet, Hank Jones on piano, Sam Jones on bass, and the great Art Blakey on drums. It may say Cannonball Adderly on the album cover, and have Miles Davis listed as a sideman, but this has the feel of a Miles Davis album all the way. The selection of material and the musician's laid back approach, tempered by the contrast of Mile's simmering mute with an expressive firey second horn, here the exuberant Adderley, are trademarks from this era of Davis' career. Regardless of who led the session, it is one any fan of jazz simply must have. It is one of those rare albums that is immediately accessable, and you can tell you will be listening to repeatedly from the first note. Every track's performance is a highlight, but Cannonball's playing is particularly inspired, especially his soulful blues soaked soloing on Dancing in the dark, and boppish flight on One For Daddy-O. Miles is dramatic, soulful, vulnerable, and sultry all at once. His muted playing on the first two tracks is simply sumptuous, with his open horn solo on One For Daddy-O and his "call and response" exchange with Adderley at the end of the title track being truly inspired. Hank Jones contributes a flawless hard swinging piano. Taking every note he is given and making it count, Hank makes his accompaniment as well as his solos sound as if he is playing them the only way they possibly could be. Art Blakey and the underrated Sam Jones are water tight in support, with Blakey unusually restrained throughout the album, his only solo space on the album's final track. At the end of One For Daddy-O we hear a puckish Miles ask producer Alfred Lion, "Is that what you wanted, Alfred?", and then some I'll wager. This is an album that will appeal to the jazz novice and the aficionado alike, if you do not have it, buy it, you won't be dissappointed.
By  "jazzfan".
**
When alto saxophonist Julian "Cannonball" Adderley, a high school band director from Florida, passed through New York with brother Nat during a school break, he found more excitement than he was counting on. After Julian offered to sit in for a late reedman, the session's leader, bassist Oscar Pettiford confronted him with the challenging changes of "I'll Remember April," at a breakneck tempo designed to humiliate the young upstart. Instead, Adderley responded with a solo that became the talk of the town; within days, his recording career had begun, and within a year he was able to give up his teaching job to front a full-time band.

Adderley gave up his own band in 1957 when he had the opportunity to become a sideman in Miles Davis' epic ensemble with John Coltrane, resulting in some of the greatest jazz recordings of all time (including MILESTONES and KIND OF BLUE). Davis returned the favor in March of 1958, appearing as a sideman on Adderley's all-star quintet date for Blue Note, and the resulting session is indeed SOMETHIN' ELSE.

Both horn players are at their peak of lyrical invention, crafting gorgeous, flowing blues lines on the title tune and "One For Daddy-O," as the Hank Jones/Sam Jones/Art Blakey rhythm team creates a taut, focused groove (pianist Hank Jones' sly, intuitive orchestrations are studies of harmonic understatement). Adderley's lush, romantic improvisation on "Dancing In The Dark" is worthy of Charlie Parker or Johnny Hodges, while the band refurbishes "Autumn Leaves" and "Love For Sale" into personal cliche-free swingers. And "Alison's Uncle" puts a boppish coda on SOMETHIN' ELSE, one of the most gloriously laid-back blowing sessions of the hard bop era.

The track "Bangoon" is the correct title for the track "Allison's Uncle" that was originally included as a bonus on previous editions of SOMETHIN' ELSE.
**
Julian "Cannonball" Adderley- (Alto Saxophone);
Miles Davis- (Trumpet);
Hank Jones- (Piano);
Sam Jones- (Bass);
Art Blakey- (Drums).
**
01. Autumn Leaves  10.59
02. Love For Sale  7.06
03. Somethin' Else  8.14
04. One For Daddy-O  8.25
05. Dancing in the Dark  4.07
06. Alison's Uncle  5.04
**
NoPassword
*
DLink
*

Julian "Cannonball" ADDERLEY – Inside Straight 1973

Julian "Cannonball" ADDERLEY – Inside Straight 1973

Jazz

1973's INSIDE STRAIGHT is one of Julian "Cannonball" Adderley's last studio recordings--he was dead within two years of its release. But unlike some recordings made toward the end of a jazz innovator's career, it's as exciting and impassioned as most of the albums that precede it. Despite a somewhat suite-like structure--the first and last tracks are called "Introduction" and "The End," and themes recur throughout the eight tracks--this is a relaxed, swinging album.

INSIDE STRAIGHT features some outstanding solos, not only from Adderley and his cornetist brother Nat, but also from every member of the quintet. The title track and "Five of a Kind" are particular highlights of the group's improvisation, but the more structured, Brazilian-tinged "Saudade" is the album's highest point. This gentle, groove-oriented tune recalls the best work of Antonio Carlos Jobim--no small praise.
From CD Universe.
**
One of Cannonball Adderley's late funky sessions for Fantasy -- and a record that still features some mighty heavy production from David Axelrod! The album's got that core groove that Axe and Cannon first crafted together at Capitol in the 60s -- but the sound here has some definite 70s touches too -- a bit more emphasis on electric piano, played here by Hal Galper -- and rhythms that are even funkier than before! Other players include Nat Adderley on cornet, Walter Booker on bass, Roy McCurdy on drums, and King Errison on percussion -- and titles include the excellent "Snakin' the Grass", which is just ripe for samplin', plus some other good grooves like "Second Son", "Saudade", "Five Of A Kind", and "Inside Straight".
From Dusty Groove.
**
Cannonball Adderley- (Alto Sax);
Bill Hall- (Spoken Vocals);
Nat Adderley- (Cornet);
Hal Galper- (Electric Piano);
Walter Booker- (Bass);
Roy McCurdy- (Drums);
King Errisson- (Percussion).
**
A1. Introduction 0:19
A2. Inside Staight 3:19
A3. Saudade 7:59
A4. Inner Journey 8:35

B1. Snakin' The Grass 6:35
B2. Five Of A Kind 5:39
B3. Second Son 6:29
B4. The End 1:12
**
NoPassword
*
DLink
*

Julian "Cannonball" ADDERLEY Orchestra - African Waltz 1961

Julian "Cannonball" ADDERLEY Orchestra - African Waltz  1961

If you're looking for today's music in its biggest and most exciting form, this unique album is strictly for you.

The surging, compelling, thoroughly earthy sound of this orchestra, led by CANNONBALL ADDERLEY and including as impressive a roster of jazz stars as has ever been assembled, has already been responsible for a major breakthrough on the musical front.

In March of 1961, the issuance on a 45-rpm single record of the rip-snorting Adderley performance of African Waltz caused a swift and totally unlooked-forupheaval. Quickly and enthusiastically accepted by a wide public, It leaped almost overnight into the bestseller category. For the first time in many a year, a jazz Instrumental charged onto the "charts" of biggest-selling records compiled by the key weekly publications of the music business: Billboard and The Cash Box. In an era when it is customary to bemoan the absence of anything other than superficial gimmicks and noise on the popular music scene, it was particularly startling to see a disc bearing the name of a top-ranked jazz artist moving up towards the top end of the lists of the nation's hits, and to hear the powerful big-band beat of African Waltz sharing radio time across the country with the latest efforts of Presley, Darin, Connie Francis and all those brand-new groups whose names we didn't quite catch.

Now this very different kind of waltz makes its Initial appearance in album form, as part of a most

impressive array of rich and rousing big-band arrangements, each conveying that same distinctive feeling of foot-stomping excitement and urgency.

These recordings represent Julian "Cannonball" Adderley's first venture into the big-band area. But the combination of swinging, earthy jazz and widespread popular appeal is nothing new for the number-one alto sax star. Ever since the Fall of 1959, when he left his featured spot with Miles Davis group to form his own quintet, Cannonball has met with a most gratifying series of successes. His group's first album, "The Cannonball Adderley Quintet in San Francisco," which included Bobby Timmons' memorable soul-tune, This Here, was an immediate and overwhelming hit. The quintet-which co-features the cornet of Cannonball's brother Nat, who can also be heard on this LP-has gone on to produce two other best-selling albums to date. It has played to enthusiastic and overflowing crowds in clubs and at concerts from, for examples, New York to Los Angeles and Boston to Dallas, and has made two thoroughly triumphant European tours.

Much of the credit for the unusual and rich-textured sound of this album must go to Ernie Wilkins, one of the very best of today's arrangers, whose credits include many scores featured by the orchestras of Count Basie, Quincy Jones and Harry James, among others. African Waltz and seven more here are his work, with Bobby Brookmeyer responsible for the others.

Fittingly enough, the composer credits on this album are also highlighted by the names of some of the brightest young artists on today's jazz scene, men like Nat Adderley, poll-winning guitarist Wes Montgomery, and pianists Wynton Kelly and Junior Mance. A number such as Quincy Jones' Stockholm Sweet'nin' is well on its way to becoming a jazz standard, and several of the other, newer tunes here are not going to be far behind.

Back in its good-old-days in New Orleans early In this century, jazz was unquestionably a thoroughly "popular" music. In the Swing Era of the 1930s, the widely acclaimed bands of Benny Goodman, Artle Shaw, Glenn Miller and the like produced many of the biggest hits of the day. It may well be that the stage is again set for the re-emergence of jazz into the spotlight of full-scale public acceptance. If that Is to be the case, this album-with Cannonball's Inventive, swinging and soulful alto soaring over the brilliant sound of the full band--is certainly an excellent way to celebrate that return and to get it under way.
By Orrin KEEPNEWS.
**
Nat Adderley, Clark Terry, Ernie Royal, Nick Travis- Trumpets;
Bob Brookmeyer, Melba Liston, Jimmy Cleveland, Paul Faulise- Trombones;
Cannonball Adderley- Alto Sax;
George Dorsey- Alto Sax and flute;
Jerome Richardson, Oliver Nelson, Tenor Sax and flutes;
Arthur Clarke- Baritone Sax;
Don Butterfield- Tuba;
Wynton Kelly- Piano;
Sam Jones- Bass;
Charlie Persip or Louis Hayes- Drums;
Ray Barretto- Conga.
**
01. Something Different (2:59)
02. West Coast Blues (4:02)
03. Smoke Gets in Your Eyes (3:00)
04. The Uptown (2:12)
05. Stockholm Sweetnin' (3:37)
06. African Waltz (2:08)
07. Blue Brass Groove (4:46)
08. Kelly Blue (3:46)
09. Letter From Home (1:55)
10. I'll Close My Eyes (3:39)
11. This Here  (3:00)
**
NoPassword
*
DLink
*

Julian "Cannonball" ADDERLEY - Love, Sex, And The Zodiac 1974

Julian "Cannonball" ADDERLEY - Love, Sex, And The Zodiac 1974

Jazz

Not to be confused with Adderley’s Soul Zodiac LP on Capitol released two years beforehand, this record is the funkier of the two. The concept is the same, Cannonball and his brother Nat, with the help of George Duke, Hal Galper, Jimmy Jones, Walter Booker, Roy McCurdy, and David Axelrod on production, go through the zodiac signs musically, as Rick Holmes narrates the sexual proclivities of each. The highlights are Taurus: Wampus Cat that gets down right funky with George Duke sounding like Stevie Wonder on the keys, and the deep bumpin bass line of Walter Booker on Leo: Rosebud.
**
This album represents another great collaboration by saxophonist Cannonball Adderley and writer/narrator Rick Holmes, together they take a look at the different zodiac signs relating to sex, the album was released in 1974 on Fantasy Records and features Nat Adderley, George Duke, Hal Galper, Jimmy Jones, Walter Booker and Roy McCurdy, production by Cannonball Adderley and David Axelrod.
**
Cannonball Adderley- Alto Sax
Nat Adderley- Cornet
Hal Galper- Electric Piano
Walter Booker- Bass
George Duke- Clavinet, ARP Synthesizer
Jimmy Jones- Piano
**
A1. Introduction 
A2. Aries: Damn Right 
A3. Taurus: Wampus Cat 
A4. Gemini: Ecstasy 
A5. Cancer: All Sides 
A6. Leo: Rosebud 
B1. Virgo: For Pam 
B2. Scorpio: Back "A" Towna 
B3. Libra: Patricia 
B4. Sagittarius: West Texas 
B5. Capricorn: The Gentle 
B6. Aquarius: Humanity Plus 
B7. Pisces: Allison's Trip
**
NoPassword
*
DLink
*   

The "Cannonball" ADDERLEY Quintet - The Price You Got To Pay To Be Free 1970

The "Cannonball" ADDERLEY Quintet - The Price You Got To Pay To Be Free 1970

Jazz

This 2-LP set by the Cannonball Adderley Quintet was recorded 'live' at an open session for people interested in musical history in the making, which definitely is true. Players are Cannonball Adderley on sax, Nat Adderley Sr. on cornet, Joe Zawinul on piano, Walter Booker on bass and Roy McCurdy on drums. Additional players are Bob West on bass and Nat Adderley Jr. on piano and guitar. Production by Cannonball Adderley and David Axelrod.
**
A1. Soul Virgo 1:46 
A2. Rumpelstiltskin 5:11 
A3. Inquisition 2:15 
A4. Devastatement 2:55 
A5. Pra Dizer Adeus 2:49 

B1. The Price You Got To Pay To Be Free 4:40 
B2. Some Time Ago 4:29 
B3. Exquisition 4:00 
B4. Painted Desert 6:11 
B5. Directions 1:07 

C1. Down In Black Bottom 5:17 
C2. 1-2-3-Go-O-O-O 4:41 
C3. Lonesome Stranger 1:55 
C4. Get Up Off Your Knees 4:59 
C5. Wild-Cat Pee 3:10 

D1. Alto Sex 1:42 
D2. Bridges 4:45 
D3. Out And In 5:40 
D4. Together 6:31 
D5. The Scene 0:34
**
NoPassword
*
DLink
*

Julian "Cannonball" ADDERLEY - The Black Messiah 1971

Julian "Cannonball" ADDERLEY - The Black Messiah 1971

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
**
NoPassword
*
DLink
*

Julian "Cannonball" ADDERLEY -Deep Groove! The Best of Cannonball Adderley (1965-1972) 1994

Julian Cannonball ADDERLEY -Deep Groove! The Best of Cannonball Adderley  (1965-1972) 1994
Label: Blue Note / EMI

Jazz

(Born September 15, 1928, Tampa, Florida, U.S.—died August 8, 1975, Gary, Indiana) one of the most prominent and popular American jazz musicians of the 1950s and '60s whose exuberant music was firmly in the bop school but which also employed the melodic sense of traditional jazz. A multi-instrumentalist, Adderley is best-known for his work on alto saxophone and for his recordings with Miles Davis and with his own small groups.

The son of a jazz cornetist, Adderley had directed a high school band in Fort Lauderdale, Florida, studied at the U.S. Navy School of Music, and led two army bands before moving to New York City in the mid-1950s. In the summer of 1955, Adderley attracted attention within New York jazz circles, garnering rave reviews for his performances with bassist Oscar Pettiford at the Café Bohemia. He soon thereafter formed a quintet with his brother Nat, a noted cornetist, that met with little success—although recordings made by the group received considerable praise years later. In 1957 Adderley embarked upon an 18-month stint with trumpeter Miles Davis, which proved to be one of the most fertile and creative periods in the careers of both men. Playing in Davis's sextet alongside saxophone legend John Coltrane, Adderley favoured a busy style that contrasted well with Davis's spare understatement. Adderley was prominently featured on Davis's albums Milestones (1958) and Kind of Blue (1959), both considered benchmarks of 1950s hard bop and modal jazz. Also significant was Somethin' Else (1958), a classic album released under Adderley's own name on which Davis was a guest player. In 1959 Adderley again joined with brother Nat to form a quintet, this time successfully, and he continued to lead popular small groups for the remainder of his career.Adderley was first acclaimed as a stylistic heir to Charlie Parker, although the more traditional Benny Carter's rhythm-and-blues phrasing also inspired his music. Although his music was not regarded as particularly groundbreaking, Adderley was an extremely gifted musician technically, known for an improvisational style that featured restless, highly decorated, often florid lines; emphatic blues harmonies; and a full, rich tone. As jazz became more atonally obtuse and rhythmically complex during the 1960s, Adderley's straightforward approach helped keep jazz popular with mainstream audiences. His was “happy music, and none the worse for that,” according to one critic.Adderley's quintet (which was occasionally expanded to a sextet with the addition of another saxophone) released popular recordings such as “This Here” (also called “Dis Here”), “Work Song,” “Jive Samba,” and “Mercy, Mercy, Mercy.” A kind and generous man who nurtured and promoted several young musicians, Adderley was also a forceful and articulate spokesman, serving on several university and government committees for the advancement of jazz.
From Encyclopædia Britannica, Inc.
**
This CD is mostly studio recordings with a full orchestra, and has pretty limited improvisation. While his playing is as great as always, it's not a good representation of him at his "Best" as the title would suggest.
**
Canonball Adderley has so many fine CDs exhibiting his saxophone prowess but this is especially nice; an amazing version of West Side Story's "Somewhere" and some fine tracks with bossa nova beats too. DO buy this--a great CD for personal listening pleasure or background party music.
**
01.Walk Tall    5:11 
02.Sticks    3:58
03.Shake A Lady    2:59
04.Why (Am I Treated So Bad)?    3:03
05.Mercy, Mercy, Mercy    5:10  
06.Do Do Do (What Now Is Next?)    6:24  
07.I'm On My Way    7:29  
08.Games    7:15  
09.The Happy People    11:24 
10.Up And At It    3:35 
11.Aries    4:53 
12.Taurus    13:53
**
NoPassword
*
DLink
*

The Julian "Cannonball" ADDERLEY Quintet & Orchestra 1970

The Julian "Cannonball" ADDERLEY Quintet & Orchestra 1970
Label: Capitol
(From A Bad Lp.)

Jazz  

I've had the vinyl copy of 'Cannonball Adderley Quintet and Orchestra' for many years now and it a rare treasure - a more angular and experimental Adderley, much less lyrical than he usually was. It has three compositions on it: 'Dialogues for Jazz Quintet & Orchestra' (12:39); 'Tensity' (12:38) and 'Experience in E' (20:00) by Joe Zawinul and William Fischer and it was the inclusion of the latter track as an extra on 'Domination' that made me buy this cd to tide me over till the whole aforementioned album with Orchestra makes it to silver disc. 'Domination' is good in itself- the arrangements by Oliver Nelson are inventive and everyone plays up a storm. It's a good example of the jazz great with orchestra genre and probably Adderley's best in that field (certainly bolder and more swinging than his '...and Strings' album) but a great album overall? Adderley has better but then he is a titan and even a somewhat lesser album like this still knocks most other people's for six. Perhaps I should give it four stars instead of three but I think I'll reserve that for the braver 'The Cannonball Adderley Quintet and Orchestra' when it turns up on cd. 'Domination' is fun, varied and occasionally smoking like a lot of other Adderley albums and that's reason enough to buy it anyway. With a player of the calibre of Adderley you're spoilt for choice and this is a choice certainly worth making.

ps: FYI: The version of 'Experience in E' on this disc has been remixed and has had some sounds excised from it to bring it closer to the piece's original intentions.
By  Noel A. Hodda.
**
CANNONBALL ADDERLEY QUINTET AND ORCHESTRA:
Nat Adderley- Cornet
Julian "Cannonball" Adderley- Alto sax
Joe Zawinul- Electric piano
Walter Booker- Bass
Roy McCurdy- Drums
ORCH;
Trumpet- Freddie Hill, Paul Hubinon
Trombone- Dick Leith, Dick Hyde
French Horn- David Duke, Art Maebe
Saxaphones- Gene Cipriano, Jackie Kelso
Flute, clarinet, piccolo- Bill Green
Flute, piccolo- Jim Horn
Oboe- Ernie Watts, Jerry Kasper
Bassoon- Don Christlieb
Arco Bass- Ray Brown
Mallets- Gary Coleman
Percussion- John Arnold
**
1. William Fischer, Josef Zawunil - Experience In E not rated 20:00
2. David Axelrod - Tensity not rated 12:38
3. Lalo Schifrin - Dialogues For Jazz Quintet And Orchestra not rated 12:39
**
NoPassword
*
DLink
*

Julian "Cannonball" ADDERLEY - Quintet Plus 1961

Julian "Cannonball" ADDERLEY - Quintet Plus 1961
Label: Riverside / OJC

Jazz

For this CD reissue of a Riverside date, altoist Cannonball Adderley's 1961 Quintet (which includes cornetist Nat Adderley, pianist Victor Feldman, bassist Sam Jones and drummer Louis Hayes) is joined by guest pianist Wynton Kelly on five of the eight selections, during which Feldman switches quite effectively to vibes. The music falls between funky soul-jazz and hard bop, and each of the performances (particularly "Star Eyes" and "Well You Needn't") is enjoyable. The CD adds a new alternate take of "Lisa" and the previously unissued "O.P." to the original program.
By Scott Yanow. AMG. 
**
Julian Cannonball Adderley (Alto Saxophone)
Nat Adderley (Cornet)
Victor Feldman (Vibraphone and Piano) - 2-5
Wynton Kelly (Piano) - 2-5,8
Sam Jones (Double Bass and Cello)
Ron Carter (Double Bass) - 8
Louis Hayes (Drums)
**
01. Arriving Soon 8:11
02. Well, You Needn’t 6:27
03. New Delhi 7:03
04. Winetone 6:59
05. Star Eyes 7:06
06. Lisa 6:41
07. Lisa 2 7:00
08. “O.P.” 5:12
**
NoPassword
*
DLink
*

Julian "Cannonball" ADDERLEY - Them Dirty Blues 1960

Julian "Cannonball" ADDERLEY - Them Dirty Blues 1960
Label: Riverside / Blue Note
Audio CD: (June 6, 2000)

Jazz

It goes without saying that Julian "Cannonball" Adderley was one of the best blues players in jazz. Just ask his ex-boss Miles Davis. This 1960 date features the musician with his brother, cornetist Nat, bassist Sam Jones, drummer Louis Hayes, and either Bobby Timmons or Barry Harris on piano. Simply put, this is a textbook on how to swing the blues, whether on ballads such as "Easy Living" and George Gershwin's "Soon," or on the dancing hard bop number, "Work Song," Timmons's gospel-tinged "Dat Dere" and Duke Pearson's melodic classic, "Jeannine." Cannonball's sax lines combine the best of Benny Carter and Charlie Parker, contrasted by his brother's in-the-pocket cornet solos. The title track reveals the down-home roots of this Florida-born musician, who always carried the South in him.
By Eugene Holley Jr. AMG.
**
Notes:  "Cannonball" Adderley has played with giants of jazz and in combos of his own selection and each outing is stellar. Along with the talented horn of Nat on these cuts he manages to continue to produce music of an always high caliber. These session were held in February and March of 1960 and captured work that helps to remind us that the blues, particularly those dirty blues, are the bedrock upon which jazz was built. Each player holds his own and brings something to the table with him. Sam Jones has provided the bottom end for such luminaries as Theolonious Monk and Dizzy Gillespie. Pianist Bobby Timmons left during the sessions to return to Art Blakey's Jazz Messengers and was replaced with local Detroit player Barry Harris. The cover photos capture a quiet, interested subject. A very nice record for your Sunday afternoon jazz fix.
By Lawrence N. Shustak.
**
Cannonball Adderley is one of those rare jazz musicians who immediately grabs ahold of your attention with his superior technique and supremely rich imagination. When you combine those traits with the fact he manages to convey a genuine sense of joy in his music, you have one of the greatest jazz musicians of all time. Based in the language of Charlie Parker, but possessing his own indivduality, this former teacher's powers are on full display throughout this recording. A Capitol re-release of a Riverside lp from 1960, Adderley is backed by his brother Nat on cornet, Louis Hayes on drums, the propulsive Sam Jones on bass, sharing the piano chair are Barry Harris (tracks 1-4) and Bobby Timmons (tracks 5-9). While Nat, Harris, and Timmons all provide high points, it is truly Adderley who is on display, ranging from simmering to a rolling boil his solos here are some of his best on record. A superior blues player, his infectious enthusiasm propels Adderley and company through some of the funkiest tracks this side of Horace Silver. There are no throw away tracks on this cd, but Nat Adderley's Work Song, Timmons' Dat Dere, and Cannonball's own Them Dirty Blues are standouts. This is one of Cannonball's best sessions as a leader, and is easily recommended, just buy it and find out for yourself!
**
Julian "Cannonball" Adderley- Alto Sax
Nat Adderley- Cornet
Bobby Timmons- Piano
Barry Harris- Piano
Sam Jones- Bass
Louis Hayes- Drums
**
01. Work Song  5:07
02. Jeannine  7:17
03. Easy Living  4:23
04. Them Dirty Blues  7:12
05. Dat Dere  5:31
06. Del Sasser  4:43
07. Soon  5:37
08. Work Song (Alternate Take)  5:51
09. Dat Dere (Alternate Take)  5:30
**
NoPassword
*
DLink
*