Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

349

Julian "Cannonball" Adderley: Why Am I Treated So Bad!

Chris May By

Sign in to view read count
By the time Why Am I Treated So Bad! was recorded over three sessions in March and July 1967, Cannonball Adderley's joyous soul jazz had begun to develop a rictus. Things could still get greasy, but the music was starting to get formulaic around the edges. Mercy, Mercy, Mercy!, recorded by the same lineup in 1966, is arguably the last Adderley album to slow-cook righteously from start to finish. At its best, this recording is almost as good, but there are a few longeurs.

Adderley's arrival at Capitol Records in 1964, after the first flowering of his music at Riverside, teamed him with David Axelrod, a heavy-handed producer, in comparison with Riverside's looser, straight down the line jazzman, Orrin Keepnews. Axelrod was a genius with kitsch rock—check The Electric Prunes' Mass In F Minor—but only tenuously in tune with jazz. (His most successful jazz sesssions, like Harold Land's The Fox, seem basically to work out because he keeps the hell out of the kitchen.)

Why Am I Treated So Bad!, like Mercy, Mercy, Mercy! before it, was produced by Axelrod in front of an invited Los Angeles studio audience, who were encouraged to party and give the atmosphere of a live gig. They all sound like they were having a genuinely good time, as does the Adderley band, at least during the two March sessions which produced the first eight tracks.

Tracks 2-4, recorded at the first session, are soul jazz at its funkiest—so funky, in fact, that not much jazz is left to play around with. But they're great performances, dominated by Joe Zawinul, who makes dirty love to his Fender Rhodes on Curtis Fuller's "What'd I Say"-like opener, "Mini Mama," and then does it all over again on Roebuck Staples' "Watermelon Man"-like "Why Am I Treated So Bad." Yes, indeed.

Tracks 5-8, recorded two weeks later, are more recognisably jazz, though still heavily funkified. Zawinul goes acoustic on all the tunes except "The Scene," but keeps the sanctified lust on mic with two originals, the compelling hard bop piece "One For Newk" and the sweetly romancing "Yvette." Each Adderley brother gives his freshest solo on Nat's "The Other Side."

Zawinul also catches most of the attention on the final two tracks, "Heads Up! Feet Down!" and "The Girl Next Door," though this time it's for what he doesn't do. He sounds curiously unengaged throughout, which may be why neither track has previously been released.

Track Listing: Introduction; Mini Mama; I'm On My Way; Why Am I Treated So Bad; One For Newk; Yvette; The Other Side; The Scene; Heads Up! Feet Down!; The Girl Next Door.

Personnel: Cannonball Adderley: alto saxophone; Nat Adderley: cornet; Joe Zawinul: piano, electric piano; Victor Gaskin: bass; Roy McCurdy: drums.

Title: Why Am I Treated So Bad! | Year Released: 2006 | Record Label: Capitol Records

Tags

comments powered by Disqus

Shop Music & Tickets

Click any of the store links below and you'll support All About Jazz in the process. Learn how.

Related Articles

Read Runner in the Rain CD/LP/Track Review
Runner in the Rain
by Troy Dostert
Published: December 15, 2018
Read Cuarteto Europa CD/LP/Track Review
Cuarteto Europa
by Mark Sullivan
Published: December 15, 2018
Read Chicago/Buenos Aires Connections CD/LP/Track Review
Chicago/Buenos Aires Connections
by Chris Mosey
Published: December 15, 2018
Read Beggar’s Banquet 50th Anniversary Edition CD/LP/Track Review
Beggar’s Banquet 50th Anniversary Edition
by C. Michael Bailey
Published: December 15, 2018
Read Intelsat CD/LP/Track Review
Intelsat
by Glenn Astarita
Published: December 15, 2018
Read World Gardens CD/LP/Track Review
World Gardens
by Dan McClenaghan
Published: December 14, 2018
Read "Streaming" CD/LP/Track Review Streaming
by Jerome Wilson
Published: October 24, 2018
Read "The Literature" CD/LP/Track Review The Literature
by Karl Ackermann
Published: August 3, 2018
Read "Fundur" CD/LP/Track Review Fundur
by Mike Jurkovic
Published: November 23, 2018
Read "Invisible Sounds: For Kenny Wheeler" CD/LP/Track Review Invisible Sounds: For Kenny Wheeler
by Roger Farbey
Published: November 1, 2018
Read "The Gene Krupa Quartet: Live 1966!" CD/LP/Track Review The Gene Krupa Quartet: Live 1966!
by Richard J Salvucci
Published: November 15, 2018
Read "Trio Exaltation" CD/LP/Track Review Trio Exaltation
by Troy Dostert
Published: June 12, 2018