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Julian "Cannonball" Adderley: Swingin' in Seattle, Live at the Penthouse 1966-1967
by Luca Canini
Un imperdibile e prezioso inedito. Settanta minuti di musica mai ascoltati prima che arrivano dritti dritti dalla seconda metà degli anni Sessanta. Un periodo cruciale per Julian Cannonball Adderley e il suo quintetto, freschi di approdo alla californiana Capitol, etichetta con le spalle decisamente più larghe e molto meno “ortodossa" rispetto alla newyorchese Riverside, e lanciati verso il botto clamoroso di “Mercy, Mercy, Mercy!," brano uscito dalla penna soulful di Joe Zawinul (determinante l'intuizione di sostituire il piano con il ...
read moreJulian "Cannonball" Adderley: Swingin' In Seattle, Live At The Penthouse 1966-1967
by Mike Jurkovic
Julian “Cannonball" Adderley and his merry men--brother/cornetist Nat Adderley, bassist Victor Gaskin, backbeat king drummer Roy McCurdy and bursting-at-the-seams-with-new-ideas pianist Joe Zawinul--were having themselves a high time during 1966-67, that Renaissance time of adventure between Cecil Taylor's Unit Structures (Blue Note, 1966), Miles Smiles (Columbia, 1967) and the colorful, imagination emancipations of Sgt. Peppers' Lonely Hearts Club Band (Capital, 1967) and Charles Lloyd's live Forest Sunflower (Atlantic, 1967). Into this froth drops Cannonball's earthy and jocular soul/blues/jazz and “Mercy, Mercy, ...
read moreJazz Renditions of Blues, Soul, Pop & Rock Hits (Part 1)
by Ludovico Granvassu
The compositions that we refer to as “jazz standards" were the pop songs of their time, before gradually developing into mainstays of the jazz repertoire. This week we focus on jazz interpretations of today's popular music, with renditions of the songs of artists ranging from Marvin Gaye to Sonic Youth, from Prince to Led Zeppelin, from Ray Charles to Paul Simon, from Donald Fagen to Bob Dylan and more. Will some of these songs become the standards of the coming ...
read moreCannonball Adderley: Somethin' Else – 1958
by Marc Davis
Is there anything new to say about a jazz classic that features one of the greatest two-horn tandems ever to lay down a blue note? How about this: You must own this record. Period. I suspect that everyone with even a passing interest in jazz owns Miles Davis' Kind of Blue, the best-selling jazz record of all time. Well, Somethin' Else is Kind of Blue one year earlier. Same two horns--Davis on trumpet, Cannonball Adderley on alto--supported by ...
read moreCannonball Adderley & Milt Jackson: Things Are Getting Better
by C. Michael Bailey
Cannonball Adderley & Milt JacksonThings Are Getting BetterOJC1959/2013 Alto saxophonist Cannonball Adderley's 1959 Things Are Getting Better joins guitarist Wes Montgomery's So Much Guitar!, trumpeter Chet Baker's Chet Baker Plays The Best Of Lerner & Loewe (OJC/Riverside, 1959/2013) and Gerry Mulligan's Mulligan Meets Monk (OJC/Riverside, 1957/2013) in re-issue celebrating the 60th anniversary of Riverside Records. Adderley was in much demand in the late 1950s, being part of Miles ...
read moreJazz Icons Series 3: Cannonball Adderley Live in '63
by C. Michael Bailey
Cannonball AdderleyCannonball Adderley Live in '63Jazz Icons2008
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 ... read moreCannonball Adderley: The Cannonball Adderley Sextet in New York
by Samuel Chell
Jazz musicians are antisocial when measured by the public's standards. Tell someone you're a musician, and the response is: “What's the name of your group?" Truth of the matter is that, the MJQ and Art Blakey notwithstanding, group identity seems an ill fit with the music's emphasis on individual expression. For this reason, it's all too easy to dismiss the dates featuring the Adderley Brothers' Group as grooving and highly communicative, but lacking in substance compared to the sessions exclusively ...
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