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The Alto After Bird - Pepper, Woods, McLean, Adderley (1957 - 1960)
When Charlie Parker died at 34 in 1955, it was as if an ancient tree fell in the forest with the resulting sunlight promoting the growth of numerous alto saxophone progeny. Art Pepper appeared in Stan Kenton's Orchestra in 1950 and by 1953 was recording as a leader while still collaborating with West Coast colleagues like Shorty Rogers and Chet Baker. In 1957, his LP Art Pepper Meets the Rhythm Section signaled the maturity of a singular improviser from the ...
read moreCannonball: A Man of the People
This interview was conducted at Union College in Schenectady, New York in 1971 and was originally published in an arts newspaper called Transition. Julian Cannonball Adderley was only three when he began to dig jazz and his hunger for his music is yet to be satiated. The first music he remembers hearing was in church. His mother was the organist of an Episcopal church. This church background has had a profound effect on his playing. His father played ...
read moreIntroducing Reel to Real Records
As the driving force behind the Cellar Live label, saxophonist Cory Weeds has been busy doing his share to promote contemporary jazz, so it comes as a pleasant surprise that he has found the time to start the archive label Reel to Real. Unlike reissues that are sometimes lost treasures that are found again, an archive release is a found treasure that has never been heard before. Weeds has found the perfect partner in producer Zev Feldman ...
read moreJulian "Cannonball" Adderley: Swingin' In Seattle, Live At The Penthouse 1966-1967
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)
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
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
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
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
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 ...
read moreJohn Taylor's Jazz Caricatures: Cannonball Adderley
Cannonball Adderley About John Taylor For me, art and music flow into a creative confluence. Encouraged by my family to draw and play the drums at an early age, I continue to find expression in these art forms.Motivation for a career in art and music developed in the 1960's as I observed theme park caricaturists at work and listened to recordings of the inimitable Buddy Rich. Gifted editorial caricaturist, David Levine, ...
read moreCannonball Adderley: The Cannonball Adderley Quintet In San Francisco
In the late 1950s and early 1960s, alto saxophonist Cannonball Adderley enjoyed his greatest popularity as measured by the commercial success of Riverside releases featuring his own group with his brother Nathaniel on cornet. The sessions were frequently recorded live, including spoken introductions by the ebullient leader, presenting some “accessible" tunes, and spotlighting at least one real crowd-pleaser ("This Here," “Sack O' Woe," “Jive Samba," “Mercy Mercy, Mercy"), each later appearing as a hit single.
These sessions are ...
read moreCannonball Adderley Quintet: The Cannonball Adderley Quintet in San Francisco
You'd be hard pressed to find a more soulful and swinging group in 1959 than the Cannonball Adderley Quintet. Apparently lots of others thought so too, for the Jazz Workshop in San Francisco, where this live set was recorded, was standing room only, with people who couldn't get into the club lined up outside just to even faintly hear the group. Even Russian composer Dmitri Shostakovich came for one night, and was as appreciative as anyone else.
What ...
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The Haywain by Hashima
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MonkTime by Leon Lee Dorsey
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Munich 2016 by Keith Jarrett
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e.s.t. live in Gothenburg by Esbjorn Svensson
