Home » Jazz Articles » Album Review » Nils Landgren: Paint it Blue
Nils Landgren: Paint it Blue
The most obvious choices for Adderley covers are this release's best tunes: "Walk Tall," "Why Am I Treated So Bad" and "Mercy Mercy Mercy." They rock hard in a contemporary groove without losing the integrity of their original identity. Landgren fares well on the not-so-obvious choices too: Nat's "Inside Straight" (1973) and Cannon's "Primitivo" (1962). Paint It Blue 's best track, though, is the heavy-duty dose of Adderley-like funk, "You Dig," co-written by Landgren and two Unit members. "You Dig," which features the immediately identifiable tenor of Michael Brecker and the always-welcome trapfunk of Bernard Purdie, is Landgren doing what he does best letting his brassy bone slide with slick confidence all over the funk terrain.
Much of this record often recalls J.J. Johnson's underrated soundtrack music of the 1970s. Some of the tunes also feature brief, mercifully unobtrusive rap / vocals by Unit member Magnum Coltrane Price. The rest of Paint It Blue , while it has seemingly little more than a title connecting it to Cannonball's music, is notable for not being bone-heavy at all. That's due to Landgren's subtle talents and the utilization of the Unit as a group entity with equally talented players getting front-line attention.
Despite an unfortunate overabundance of slow jams (which, reveals the limits of Landgren's sparkle and wit, unlike Cannonball's), Paint It Blue , does have enough solid jazz-funk to keep it going. For another approach to Cannonball Adderley's inspiration, interested listeners may also want to check out the Manhattan Project's quite good, recently-released non-funk disc, We Remember Cannon , on Evidence.
Personnel
Nils Landgren
tromboneAlbum information
Title: Paint it Blue | Year Released: 1997 | Record Label: ACT Music
About Nils Landgren
Tags
PREVIOUS / NEXT
Become a Sustaining Member
Since 1995, All About Jazz has championed jazz as an art form and supported the musicians who create it. Over three decades, it has grown into one of the world's leading jazz resources, serving hundreds of thousands of readers, musicians, presenters and industry professionals each month.
Help Build the Future of All About Jazz
Your support helps us continue building All About Jazz for the next generation—expanding our editorial coverage, preserving jazz history, developing new community features and creating better ways to discover the music and the people behind it.
Become a sustaining member for as little as $20 per year and you'll immediately enjoy an ad-free experience along with access to subscriber features and future articles for a full year.
Together, we're not simply sustaining All About Jazz—we're building its future. Thank you for being part of the journey.






