The Cannonball Adderley Quintet - Mercy, Mercy, Mercy! Live At "The Club"

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 41:22
Size: 95,2 MB
Art: Front

( 0:07)  1. Introduction
( 8:19)  2. Fun
( 7:20)  3. Games
( 5:10)  4. Mercy, Mercy, Mercy!
( 4:03)  5. Sticks
( 5:49)  6. Hippodelphia
(10:31)  7. Sack O' Woe

Cannonball Adderley's most popular album, Mercy, Mercy, Mercy wasn't actually recorded "Live at 'The Club'," as its subtitle says. The hoax was meant to publicize a friend's nightclub venture in Chicago, but Adderley actually recorded the album in Los Angeles, where producer David Axelrod set up a club in the Capitol studios and furnished free drinks to an invitation-only audience. Naturally, the crowd is in an extremely good mood, and Adderley's quintet, feeding off the energy in the room, gives them something to shout about. By this point, Adderley had perfected a unique blend of earthy soul-jazz and modern, subtly advanced post-bop; very rarely did some of these harmonies and rhythms pop up in jazz so saturated with blues and gospel feeling. Those latter influences are the main inspiration for acoustic/electric pianist Joe Zawinul's legendary title cut, a genuine Top 40 pop hit that bears a passing resemblance to the Southern soul instrumentals of the mid-'60s, but works a looser, more laid-back groove (without much improvisation). 

The deep, moaning quality and spacy texture of "Mercy, Mercy, Mercy" stand in contrast to the remainder of the record, though; Nat Adderley contributes two upbeat and challenging originals in "Fun" and "Games," while Zawinul's second piece, "Hippodelphia," is on the same level of sophistication. The leader's two selections the gospel-inflected "Sticks" and the hard-swinging, bluesy bop of "Sack O' Woe" (the latter of which became a staple of his repertoire)  are terrific as well, letting the group really dig into its roots. Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well or with such tremendous musical rewards as Mercy, Mercy, Mercy. ~ Steve Huey   http://www.allmusic.com/album/mercy-mercy-mercy!-live-at-the-club-mw0000173884

Personnel : Cannonball Adderley (alto saxophone); Nat Adderley (cornet); Joe Zawinul (acoustic & electric pianos); Victor Gaskin (bass); Roy McCurdy (drums).

Mercy, Mercy, Mercy! Live At "The Club"

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Cannonball Adderley, Milt Jackson - Things Are Getting Better

Bitrate: MP3@320K/s
Time: 52:46
Size: 120.8 MB
Styles: Soul jazz, Saxophone jazz
Year: 1958/2012
Art: Front

[4:58] 1. Blues Oriental
[0:44] 2. A Few Words
[7:09] 3. Things Are Getting Better
[4:45] 4. Serves Me Right (Take 5)
[5:18] 5. Groovin' High
[6:56] 6. The Sidewalks Of New York (Take 5)
[6:23] 7. Sounds For Sid
[6:43] 8. Just One Of Those Things
[4:34] 9. Serves Me Right (Take 4, Alternate)
[5:12] 10. The Sidewalks Of New York (Take 4, Alternate)

This title provides ample evidence why alto Cannonball Adderley is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson on vibes to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly on piano, Percy Heath on bass, and the one and only Art Blakey on drums. The moody "Blues Oriental" opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic "Things Are Getting Better" is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry "Serves Me Right," which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's "Groovin' High" contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. "Sidewalks of New York" bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's "Sounds for Sid" demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's "Just One of Those Things." While Wynton Kelly has been uniformly solid, his interjections stand out here as he bridges and undergirds the two as they banter with flair and aplomb. This set can be recommended without hesitation to all manner of jazz enthusiast, as it quite literally offers something for every taste. [Some reissues include two bonus tracks supplementing the original seven-song running order, alternate takes of "Serves Me Right" and "Sidewalks of New York."] ~Lindsay Planer

Things Are Getting Better

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Cannonball Adderley - Quintet In Chicago

Styles: Saxophone Jazz

Year: 1959
File: MP3@320K/s
Time: 34:03
Size: 78,2 MB
Art: Front

(4:40)  1. Limehouse Blues
(6:14)  2. Stars Fell on Alabama
(5:46)  3. Wabash
(4:33)  4. Grand  Central
(5:34)  5. You' re A Weaver Of Dreams
(7:13)  6. The Sleeper

This exciting session consists of the 1959 edition of The Miles Davis Sextet minus its leader, though it was later reissued as Cannonball & Coltrane, as there was evidence that both men had considerable input into the date. A brisk "Limehouse Blues" features great exchanges between the saxophonists, while Adderley's soulful "Wabash" is more easygoing. This newly remastered CD is a distinct improvement over the earlier retitled reissue. ~ Ken Dryden  http://www.allmusic.com/album/cannonball-adderley-quintet-in-chicago-mw0000088595

Cannonball Adderley Quintet: Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums).

Quintet In Chicago

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Nancy Wilson, Cannonball Adderley - S/T

Bitrate: MP3@320K/s

Time: 43:57

Size: 100.6 MB

Styles: Standards, Vocal jazz

Year: 1962/1993

Art: Front

[2:42] 1. Save Your Love For Me

[2:17] 2. Never Will I Marry

[2:58] 3. The Old Country

[2:23] 4. Happy Talk

[4:15] 5. The Masquerade Is Over

[2:32] 6. A Sleepin' Bee

[2:13] 7. Little Unhappy Boy

[4:29] 8. Teaneck

[4:55] 9. I Can't Get Started

[5:09] 10. One Man's Dream

[3:56] 11. Never Say Yes

[6:03] 12. Unit 7

An excellent collaboration of the Nancy Wilson voice with the Cannonball Adderley alto sax from the early '60s. While this 1961 recording was the first time Wilson was with Adderley in the studio, it was not the first time they had worked together. After singing with Rusty Bryant's band, Wilson had worked with Adderley in Columbus, OH. (It was there that Adderley encouraged her to go to N.Y.C. to do some recording, eventually leading to this session.) Not entirely a vocal album, five of the 12 cuts are instrumentals. A highlight of the album is the gentle cornet playing of Nat Adderley behind Wilson, especially on "Save Your Love for Me" and on "The Old Country." Cannonball Adderley's swinging, boppish sax is heard to excellent effect throughout. Joe Zawinul's work behind Wilson on "The Masquerade Is Over" demonstrates that he is a talented, sensitive accompanist. On the instrumental side, "Teaneck" and "One Man's Dream" are especially good group blowing sessions. On the other end of the spectrum, Adderley's alto offers a lovely slow-tempo treatment of the Vernon Duke-Ira Gershwin masterpiece, "I Can't Get Started. the listeners on their musical toes, the first couple of bars of "Save Your Love for Me" are quotes from "So What" from the Miles Davis Sextet seminal Kind of Blue session. Given the play list and the outstanding artists performing it, why any serious jazz collection would be without this classic album is difficult to comprehend. ~Dave Nathan

Nancy Wilson, Cannonball Adderley

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Cannonball Adderley / Nat Adderley Quintet - What Is This Thing Called Soul (Live In Europe)

Styles: Saxophone And Cornet Jazz
Year: 1960
File: MP3@320K/s
Time: 42:06
Size: 96,7 MB
Art: Front

(8:51) 1. Azule Serape
(6:43) 2. Big "P"
(6:36) 3. One For Daddy-O
(9:59) 4. The Chant
(8:26) 5. What Is This Thing Called Love
(1:29) 6. Cannonball's Theme

Cannonball Adderley's 1960 Quintet (with cornetist Nat Adderley and pianist Victor Feldman) was in top form during their tour of Europe. Norman Granz did not release the music heard on this CD until almost 25 years after the fact but the strong solos and enthusiastic ensembles had not dated nor faded with time. These versions of "The Chant," "What Is This Thing Called Love?" and "Big 'P'" make for interesting comparisons with the better-known renditions. Adderley fans will want this set. By Scott Yanow https://www.allmusic.com/album/what-is-this-thing-called-soul-mw0000674626


Personnel: Alto Saxophone – Cannonball Adderley; Cornet – Nat Adderley; Drums – Louis Hayes; Piano – Vic Feldman; Bass – Sam Jones.

What Is This Thing Called Soul (Live In Europe)

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Cannonball Adderley Quintet - In Concert

Styles: Saxophone Jazz
Year: 1961/2023
File: MP3@320K/s
Time: 71:56
Size: 165,2 MB
Art: Front

( 8:09) 1. Exodus
(10:55) 2. Hi Fly
( 8:16) 3. Our Delight
( 5:46) 4. Serenity
(14:07) 5. Sack O' Woe
( 6:38) 6. Lisa
( 8:49) 7. This Here
( 9:11) 8. New Delhi

When Cannonball first played New York, he was welcomed as a successor to Charlie Parker. Easy to see why, Cannonball has the fluency and a tone that has a serrated edge. The special value of Cannonball’s music is that there is little that is startlingly new about it but it was contemporary in conception and steeped in the traditions of jazz. Adderley was a populiser. He could sense what would play with an audience, luckily it was what he wanted to play. He was a player with a secure sense of swing and an alto sound reminiscent of Parker in addition to a touch of sanctified soul and gospel. His energetic effortless style, eloquent and outgoing. encouraged audiences to warm to his optimism: a consolidator rather than an innovator.

Nat Adderley is the surprise of the album and in many ways he edits his solos in contrast to his loquacious brother. Consistently underrated and underappreciated, Nat started his professional life trying to sound like Chet Baker. He moved eventually to work on the Gillespie approach. He believed the reason that the Adderley music was appreciated was because it was based on the Black Southern Church, not the classical tradition.

Victor Feldman is one of the few UK musicians who moved successfully to the US. He was a composer: he wrote four of the pieces on the album. Before joining Cannonball, he worked with Woody Herman and Shelly Manne. His percussive piano playing is featured throughout.

The superb rhythm section powers all the music. Louis Hayes eventually spent six years with Cannonball. He is one of the key bop drummers. His work on this album shows him to be the kind of drummer who works for the band rather than to inflate his own ego. The fluidity of Sam Jones playing is matched by the rich sound he plucks from his bass. Eventually he spent seven years with Cannonball.

The rolling rhythm of ‘Exodus opens the album before a scorching solo from Cannonball establishes the joyful mood. A more restrained solo from Nat has him, after a while, reaching for the upper register. Victor Feldman tries to keep the intensity high.

Randy Weston’s ‘Hi Fly’ is introduced by Feldman on piano and the jaunty theme is played before Feldman turns to the vibraphone with the alto and trumpet punctuating the vibraphone solo. Nat Adderley’s solo is slightly more abstract than some of this other work. The assertive Cannonball finishes the piece with a flourish.

The group uncoils Tadd Dameron’s ‘Our Delight’ with energy and zest. The speed suits Cannonball who races ahead to challenge; his brother who is less happy with the tempo. Feldman uses the vibes for his solo before Louis Hayes has a brief musical comment.

‘Serenity’ is one of those pieces that is programmed to give the alto and trumpet some respite. It is a tune that is shapely, rhapsodic, romantic and not very memorable. However, the interplay with Sam Jones gives the piece added depth. ‘Sack O’ Woe’ and ‘This Here’ are feel-good pieces precursors of the kind of compositions that Cannonball would play in the future such as ‘Mercy Mercy’. In 1961, at a time when others were experimenting, Cannonball played straightahead jazz. This album was recorded at a time, just after his stint with Miles Davis on ‘Kind of Blue’. Cannonball connected with audiences who appreciated the great passion that he could bring to his improvisation.

Record producer Orrin Keepnews described Cannonball as ‘one of the most completely alive human beings I had ever encountered: a big man and a joyous man.’ You get a sense of some of those qualities when listening to the music of this night in Copenhagen.By Jack Kenny https://jazzviews.net/cannonball-adderley-quintet-in-concert/

Personnel: Cannonball Adderley (alto saxophone); Nat Adderley (trumpet); Victor Feldman (piano, vibraphone); Sam Jones (bass); Louis Hayes (drums)

In Concert

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Eddie 'Cleanhead' Vinson With The Cannonball Adderley Quintet - Back Door Blues

Bitrate: MP3@320K/s
Time: 61:40
Size: 141.2 MB
Styles: Blues/Jazz/R&B, West Coast Blues
Year: 1962/2013
Art: Front

[2:12] 1. Bright Lights, Big City
[2:33] 2. This Time
[4:17] 3. Hold It
[6:30] 4. Arriving Soon
[4:17] 5. Kidney Stew
[2:19] 6. Back Door Blues
[2:46] 7. Person To Person
[3:02] 8. Just A Dream
[4:48] 9. Audrey
[4:03] 10. Vinsonology
[6:30] 11. Cannonizing
[6:20] 12. Bernice's Bounce
[4:16] 13. Kidney Stew (Alt Take)
[3:35] 14. Back Door Blues (Alt Take)
[4:04] 15. Vinsonology (Alt Take)

Alto Saxophone – Julian "Cannonball" Adderley* (tracks: 1 to 9, 11), Eddie "Cleanhead" Vinson (tracks: 3, 4, 6, 9, 11); Bass – Sam Jones; Cornet – Nat Adderley; Drums – Louis Hayes; Piano – Joe Zawinul; Vocals – Eddie "Cleanhead" Vinson (tracks: 1, 2, 4, 5, 7, 8, 10).

A plethora of "lost" recording dates have popped up since the dawn of the compact disc, especially in the jazz world. Unfortunately, most of them haven't been worth the wait and, indeed, as underwhelming as some of them have been, it might at least aesthetically speaking have been better had they not been unearthed. Happily, this isn't one of these occasions. The two sessions here were recorded in 1961 and 1962 in Chicago and New York, and feature Cannonball Adderley's quintet that included pianist Joe Zawinul, bassist Sam Jones, drummer Louis Hayes, and brother Nat on cornet. Cleanhead sings his ass off and plays some alto with Cannonball. These dates reveal an anomaly in jazz at the time: The recordings are the place on the map where jazz and R&B meet head on, bringing the full force of their respective traditions and neither giving an inch. And it works so well from the wild bluesy shout of Vinson in call and response with Adderley on "Bright Lights, Big City" and "Hold It!" to the shimmering dual jazz saxophones on "Arriving Soon" that it begs the question as to why it didn't happen more often.

The soloing is top-flight, with some especially knotty work by Nat on "Person to Person" and "This Time." Cannonball is excellent throughout; the R&B and blues idioms are all meat and potatoes for him, and he feels confident settling inside the groove without the need to push the boundary. Ironically, it's Vinson who compensates in that way. And the anchor in all of this is Zawinul, leading the rhythm section, condensing both musics to their most essential harmonics and tonalities, and building them out with a swinging style and cadence that are nothing short of remarkable. These two sets may be comprised of songs and standards from the repertoire, but make no mistake, they are blowing sessions. The digital transfer by Joe Tarantino is flawless and so lifelike it's startling. Highly recommended. ~Thom Jurek

Back Door Blues

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Cannonball Adderley - Swingin' in Seattle : Live at the Penthouse 1966-1967

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 73:05
Size: 169,1 MB
Art: Front

( 0:13) 1. Jim Wilke Introduction I.
( 8:49) 2. Big P
( 0:24) 3. Spoken Outro I
( 0:14) 4. Spoken Introduction I
(11:10) 5. The Girl Next Door
( 0:48) 6. Spoken Introduction II
( 4:33) 7. Sticks
( 0:06) 8. Spoken Outro II
( 0:12) 9. Spoken Introduction III
(10:44) 10. Manhã De Carnaval
( 0:12) 11. Spoken Outro III
( 0:34) 12. Spoken Introduction IV
( 5:04) 13. Somewhere
( 0:16) 14. Jim Wilke Introduction II
(10:38) 15. 74 Miles Away
( 0:31) 16. Spoken Outro IV
( 6:47) 17. Back Home Blues
(10:44) 18. Hippodelphia
( 0:57) 19. Set-Closing Outro

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, Mercy" is tapping the national Top Ten and later takes home a Grammy for the storied LP Mercy, Mercy, Mercy Live at The Club!(Capital, 1966).

Recorded pre and post that milestone release, Reel to Real Recordings gives us Swingin' In Seattle: Live at The Penthouse (1966-1967) and it's really hard no, it's damn impossible not to feel on a cellar-level the celebratory joy these guys share and create with, as they peak and peak, night after night.

And, yes, of course there's a whole provenance of discovering unheard tapes and the human wrangling that goes on behind the scenes to get these things into the grateful listening sphere, but that could be a whole other essay. Meanwhile, "Big P," the break-from-the-gate opening track, swings and it gooses and it gets the audience up early and often. "Big P, that's a familiar way to open," Cannonball outros laconically, "Seems like we always begin to play "Big P" in Seattle. Maybe that's uhh, how we feel about things." Well thank you for that, a million times thank you!

These guys could do no wrong to whatever they brought their hearts to and "The Girl Next Door" is mercurial proof of that. From slow romance to dance floor fling with sky-high solos and tempo shifts that defy any metronome, the quintet just flows on its own time, in its own space and we step into that river as true disciples and ride the tide. "Sticks," a then new Cannonball composition, barrels from the get go and doesn't stop. One feels that, edited to perhaps the four-minute mark, this would have a made a great follow-up single with its punchy, chorus-like theme and soaring sax.

After a spirited, though pop-oriented, swing through the easy bossa nova of "The Morning of the Carnival" and Leonard Bernstein's elegiac "Somewhere," the band gets back to brass tacks and fires the cylinders for Zawinul's percolating spiral "74 Miles Away," with a for-the-ages Nat solo. A brazen run through Charlie Parker's "Back Home Blues" has Nat sitting out while big brother takes center stage. Julian and Nat keep being mentioned, but none of this sustained exuberance is possible with McCurdy, Gaskin, and Zawinul who take the task at hand and charge head on with it. The raucous "Hippodelphia," another gem from Zawinul's youthful, hyperactive pen, brings the October '67 night to a rousing close. A real early contender for best of 2019 lists.~ Mike Jurcovik https://www.allaboutjazz.com/swingin-in-seattle-live-at-the-penthouse-1966-1967-julian-cannonball-adderley-reel-to-real-review-by-mike-jurkovic.php

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

Swingin'in Seattle: Live at the Penthouse 1966-1967

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The Cannonball Adderley Quintet - Quintet Plus

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 54:23
Size: 125,3 MB
Art: Front

(8:08)  1. Arriving Soon
(6:25)  2. Well You Needn't
(6:55)  3. New Delhi
(6:56)  4. Winetone
(7:05)  5. Star Eyes
(6:40)  6. Lisa - Take 8
(6:59)  7. Lisa - Alternate Take
(5:12)  8. O.P.

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. ~ Scott Yanow https://www.allmusic.com/album/the-quintet-plus-mw0000584171

Personnel: Cannonball Adderley - alto saxophone; Nat Adderley - cornet; Wynton Kelly - piano; Victor Feldman - piano, vibes; Sam Jones - bass; Louis Hayes - drums

The Quintet Plus

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Cannonball Adderley - 74 Miles Away / Walk Tall

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 35:11
Size: 80,9 MB
Art: Front

( 6:22)  1. Do Do Do (What Now Is Next?)
( 6:56)  2. I Remember Bird
( 2:36)  3. Walk Tall (Baby, That's What I Need)
(13:51)  4. 74 Miles Away
( 5:24)  5. Oh Babe

With the hit "Mercy Mercy Mercy" still reverberating on the sales charts, Capitol simply had the Quintet crank out one live club date after another at this point, hoping for another smash. They never really got one, but Cannonball and Nat Adderley, in league with pianist Joe Zawinul, bassist Victor Gaskin and drummer Roy McCurdy, left a strong legacy like this vigorous live Hollywood gig. One of Nat's best gospel-styled hip-shakers, "Do Do Do," opens the record, and Joe Zawinul comes up with another bluesy, catchy self-help tune in the vein of "Mercy" called "Walk Tall," prefaced by another of Cannonball's wryly inspirational talks. Indeed Cannonball was such an ingratiating speaker that he could even deliver a gracious ode to a critic, in this case Leonard Feather prior to his eloquent performance of Feather's "I Remember Bird." Yet the Adderleys and Zawinul could also take off and offer exploratory, nearly avant-garde solos on Zawinul's Middle-Eastern-flavored montuna in 7/4 time, "74 Miles Away" (which presages some of Joe's experiments with Weather Report). This was a rare thing, a group that could grab the public's attention and gently lead them into more difficult idioms without pandering or condescension. ~ Richard S.Ginell https://www.allmusic.com/album/74-miles-away-walk-tall-mw0000869511  

Personnel: Alto Saxophone – Cannonball Adderley; Bass – Victor Gaskin; Cornet – Nat Adderley; Drums – Roy McCurdy; Piano – Joe Zawinul

74 Miles Away/Walk Tall

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Cannonball Adderley Quartet - Cannonball Takes Charge

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 52:53
Size: 122,1 MB
Art: Front

(5:32)  1. If This Isn't Love
(5:34)  2. I Guess I'll Hang My Tears Out To Dry
(4:16)  3. Serenata
(3:39)  4. I've Told Ev'ry Little Star
(7:03)  5. Barefoot Sunday Blues
(5:10)  6. Poor Butterfly
(6:55)  7. I Remember You
(7:48)  8. Barefoot Sunday Blues - Alternate Take
(6:52)  9. I Remember You - Alternate Take

The recording of Cannonball Takes Charge was sandwiched in between two events that would help earn Cannonball Adderley a permanent place in jazz lore. Just the day before the album’s first session, he participated in the completion of Miles Davis’s seminal Kind of Blue. Five months after Cannonball Takes Charge was finished, he had Riverside producer Orrin Keepnews record his newly formed quintet at the Jazz Workshop in San Francisco which helped launch his career as one of the leading proponents of “soul jazz.” But what about the album made in between these two momentous occasions? Cannonball Takes Charge ’s concept was a common one: the altoist is the lone horn in a quartet performing a program made up primarily of standards. The results are anything but routine though, and show that 1959 was a very good year for Cannonball Adderley.  The opening tune, “If This Isn’t Love,” kicks off the proceedings on an ebullient note with Adderley playing an infectious solo that can brighten even the gloomiest day. Things reach a more melancholic note only on “I Guess I’ll Hang My Tears Out To Dry” which features a fine ballad performance by the alto saxophonist. “Barefoot Sunday Blues,” the lone original composition, points to the gospel and soul-inflected jazz that would become Adderley’s calling card. The final selection, “I Remember You,” produces his finest performance on the album. Adderley is able to coax a five-chorus improvisation out of the standard’s changes that is always interesting and full of romantic lyricism. On the piano bench is Wynton Kelly who plays with the utmost of taste throughout. He makes his best impression when he dips in to a more earthy vibe on his last solo chorus of “Barefoot Sunday Blues” and in his work on “Poor Butterfly.” Joining Adderley and Kelly are Paul Chambers and Jimmy Cobb on four tracks, and Percy and Albert Heath on the rest. As an added bonus, this 2002 CD reissue adds alternate takes of “Barefoot Sunday Blues” and “I Remember You” that are well worth listening to. Adderley would rarely revisit the territory he covered in Cannonball Takes Charge in the years to come. His subsequent work on Riverside increasingly began to follow a formula: albums recorded live with the altoist’s working band. In 1961 though, Adderley would record another quartet album, Know What I Mean? , in which he managed to surpass the lofty heights achieved on Cannonball Takes Charge. ~ Robert Gilbert https://www.allaboutjazz.com/cannonball-takes-charge-julian-cannonball-adderley-capitol-records-review-by-robert-gilbert.php

Personnel: Cannonball Adderley - alto saxophone; Wynton Kelly - piano; Paul Chambers, Percy Heath - bass; Jimmy Cobb, Albert Heath - drums

Cannonball Takes Charge

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Cannonball Adderley - Live!

Styles: Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 45:55
Size: 105,9 MB
Art: Front

(13:29)  1. Little Boy With The Sad Eyes
( 8:54)  2. Work Song
( 6:46)  3. Sweet Georgia Bright
(15:24)  4. The Song My Lady Sings
( 1:19)  5. Theme

Cannonball Adderley Live! is a live album by jazz saxophonist Cannonball Adderley recorded at Shelly's Manne-Hole and released on the Capitol label featuring performances by Adderley with Nat Adderley, Charles Lloyd, Joe Zawinul, Sam Jones and Louis Hayes. The Allmusic review by Scott Yanow awarded the album 3 (out of 5) stars and states: "When Riverside Records went into bankruptcy, Adderley signed with Capitol, a label whose interest in jazz ... tended to be short-lived. 

As a result, Cannonball's recordings would become more commercial as the 1960s developed but this early Capitol effort is quite good. Charles Lloyd had just joined Adderley's Sextet and his tenor and flute were major assets" https://en.wikipedia.org/wiki/Cannonball_Adderley_Live!

Personnel:  Cannonball Adderley - alto saxophone; Nat Adderley - cornet; Charles Lloyd - tenor saxophone, flute; Joe Zawinul - piano; Sam Jones - bass; Louis Hayes - drums

Live!

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The Cannonball Adderley Quintet - In Person (Live)

Styles: Saxophone Jazz
Year: 1969
File: MP3@320K/s
Time: 45:55
Size: 105,8 MB
Art: Front

(11:44)  1. Rumplestiltskin
( 3:08)  2. I'd Rather Drink Muddy Water
( 4:43)  3. Save Your Love For Me
( 2:03)  4. The Scene
( 5:35)  5. Somewhere
( 9:54)  6. The Scavenger
( 5:13)  7. Sweet Emma
( 3:31)  8. Zorba

Almost everything soulful at Capitol Records in the mid 60s packed together in one sweet little place! The set's a winner in a great line of Cannonball Adderley live dates from the time produced by David Axelrod, and done with that great mix of angular, slightly electric groove the combo was virtually pioneering thanks to help from Joe Zawinul on electric piano, and Nat Adderley on cornet! Cannon also plays some great soprano sax an instrument that he was taking off beautifully with at the time and sets fire to a few great tunes with the instrument. But as if that's not enough, Lou Rawls joins in on vocals on a few cuts, and Nancy Wilson comes in on a few more and the album alternates singing with instrumentals in a really great way. Titles include two very nice extended tracks by Joe Zawinul  "Rumplestiltskin" and "The Scavenger", both of which are over 10 minutes long, and which have the group stretching out in a nice live vein and other cuts include "The Scene", "Somewhere", "Sweet Emma", and "Zorba".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/838654/Cannonball-Adderley-with-Nancy-Wilson-Lou-Rawls:In-Person

Personnel:  Cannonball Adderley - alto saxophone, soprano saxophone; Nat Adderley - cornet; Joe Zawinul - piano; Victor Gaskin - bass; Roy McCurdy - drums; Lou Rawls - vocals (track 2); Nancy Wilson - vocals (track 3)

In Person (Live)

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Nat Adderley - Introducing Nat Adderley

Styles: Cornet Jazz
Year: 1955
File: MP3@320K/s
Time: 43:40
Size: 101,4 MB
Art: Front

(2:47)  1. Watermelon
(4:06)  2. Little Joanie Walks
(3:32)  3. Two Brothers
(4:29)  4. I Should Care
(6:03)  5. Crazy Baby
(6:43)  6. New Arrivals
(3:53)  7. Sun Dance
(3:22)  8. Fort Lauderdale
(3:16)  9. Friday Nite
(5:25) 10. Blues For Bohemia

The Adderley brothers were key players in the birth of hard bop, a style which grew out of the advancements of Bud Powell and other pioneers who formed a sound that many artists took to the bank for years. At this point in time Cannonball had formed his first quintet with Nat as a sideman; facing indifferent recognition, Cannonball went on to join Miles Davis and met with far greater acclaim. The two would later reunite in the second Cannonball Adderley quintet with much greater success; after his stint with Davis, the public was much more receptive to what Cannonball had to say. This album is a bit unusual in that Nat is the leader and Cannonball is the sideman, although since the altoist is such a pervasive influence and all the tunes we co-written by the two, the distinction of who is in charge makes little difference. The Adderley brothers were always at their best working in the hard bop vein. Although they specialized in different instruments, their styles were remarkably similar; playful and lively, with a generous helping of the blues. 

They wear their Parker-Gillespie influences on their sleeves, trading off fluttering arpeggios and staccato runs at a rapid fire pace, and obviously prefer sticking to the higher register given their choice of instruments (Nat is one of the few jazz players to specialize in the cornet). Most of the songs here are skillfully designed to exploit the talents of both, although they are interchangeable with hundreds of other hard bop themes from the era. However, they truly seem to be enjoying themselves here, indulging their love of playing jazz. You would also be hard pressed to find a rhythm section better than the one assembled here; all three were highly regarded sidemen who amongst them have probably appeared on over a third of all sessions recorded during this period. Horace Silver would go on to record greasy soul anthems for the hard bop generation like "Song For My Father"; his sharp attack provides a bed of nails for the horns to blow over. ~ David Rickert https://www.allaboutjazz.com/introducing-nat-adderley-nat-adderley-verve-music-group-review-by-david-rickert__27073.php

Personnel: Nat Adderley, cornet; Cannonball Adderley, alto sax; Horace Silver, piano; Paul Chambers, bass; Roy Haynes, drums.

Introducing Nat Adderley

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Cannonball Adderley - Discoveries

Bitrate: MP3@320K/s
Time: 35:31
Size: 81.3 MB
Styles: Bop, Soul-jazz
Year: 2010
Art: Front

[5:44] 1. With Apologies To Oscar (Take 1)
[5:44] 2. Bohemia After Dark (Take 1)
[4:06] 3. Chasm (Take 3)
[3:13] 4. Late Entry (Take 4)
[5:00] 5. A Little Taste (Take 1)
[5:18] 6. Caribbean Cutie (Take 1)
[0:39] 7. Spontaneous Combustion (Take 4)
[5:43] 8. With Apologies To Oscar (Take 2)

Alto Saxophone – Cannonball Adderley; Cornet – Nat Adderley; Double Bass – Paul Chambers; Drums – Kenny Clarke; Piano – Hank Jones, Horace Silver; Tenor Saxophone – Jerome Richardson; Trumpet – Donald Byrd.

The lineup on this mid-'50s Cannonball Adderley date is like some kind of hard bop dream team: the alto sax legend is teamed up with brother Nat on cornet, Donald Byrd on trumpet, Jerome Richardson on tenor sax and a rhythm section consisting of drummer Kenny Clarke and bassist Paul Chambers; Horace Silver handles most of the piano chores, while Hank Jones sits in on two tracks. Adderley plays beautifully throughout; note especially the rhythmic tension he sets up as he plays straight eighths over the melody on "With Apologies to Oscar." Horace Silver is at the top of his form as well, and seems to be having fun throwing around veiled Monk references. The trumpet/cornet solo on "Bohemia After Dark," however, sounds tired and hesitant. Unfortunately, the sound quality of this disc varies (sometimes within a single track) more than it should for a recording of this vintage, and the disc's 35-minute length is another annoyance. But the weight of great performances by Adderley, Silver and the infallible Clarke/Chambers axis, combined with the disc's attractive price, make it a solid value. Highly recommended. ~Rick Anderson

Discoveries mc
Discoveries zippy

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The Cannonball Adderley Quintet - Great Love Themes

Bitrate: MP3@320K/s
Time: 30:14
Size: 69.2 MB
Styles: Bop, Soul-jazz
Year: 1966/2011
Art: Front

[2:51] 1. Somewhere
[3:15] 2. The Song Is You
[3:29] 3. Autumn Leaves
[3:35] 4. I Concentrate On You
[2:35] 5. This Can't Be Love
[3:05] 6. Stella By Starlight
[3:29] 7. Morning Of The Carnival
[4:29] 8. The End Of A Love Affair
[3:22] 9. So In Love

Bass – Herbie Lewis; Conductor – Ray Ellis; Drums – Roy McCurdy; Piano – Joe Zawinul; Saxophone [Alto] – Cannonball Adderley; Trumpet – Nat Adderley.

Cannonball Adderley and his men are out in full bodied force today: modern, inventive and totally exciting. How about the strings? They're present and handsomely accounted for as a great new-style accompaniment to the soaring sounds of the Adderleys. (Note the brilliant blend of strings with soprano voices, harp, woodwind plus percussion). They temper the high-flying moments with smooth punctuation, they sharpen the mellow phrasings with straight-forward statements. They're an asset on the credit side of the session report. And that takes care of "With Strings." As one sage puts it, music like love is a feeling. When the feeling's real in either case, the whole world knows it. Once you hear the obvious and stunning reality of these great renderings you're bound to predict-that's precisely what's going to happen here. Each of the tunes chosen by the Quintet for this outing expresses the very essence of romance: the sun, the moon, the stars of it reflect in each richly melodic line. Each is, in a word, unforgettable.

Like the true musicians that they are, the Cannonball Adderley Quintet take it from there. What they come up with is unforgettable in its own right. There's the lush, Latin-textured charm of Morning Of The Carnival with the Adderley brothers - Cannonball on alto sax and Nat on trumpet - sharing the lead in warm, free-flowing camaraderie. Somewhere and Stella By Starlight glow with the alto sax magic of Cannonball in a romantic mood while So In Love swings with a buoyantly up-tempo sound that features a particularly outstanding chorus by Nat above the lyrical;'strings. Autumn Leaves stands brightly burnished by the Quintet's multicolored lines and the golden presence of the strings. A special brand of jazz it is from first chorus to last the quintessence of all that is Adderley underscored, this time, by the tantalizing string formations of Ray Ellis.

Great Love Themes mc
Great Love Themes zippy

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Cannonball Adderley - Sophisticated Swing

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 36:01
Size: 84,0 MB
Art: Front

(3:41)  1. Another Kind Of Soul
(6:13)  2. Miss Jackie's Delight
(3:48)  3. Spring Is Here
(3:32)  4. Tribute To Brownie
(3:56)  5. Spectacular
(3:29)  6. Jeanie
(3:17)  7. Stella By Starlight
(5:21)  8. Edie McLin
(2:41)  9. Cobbweb

Sophisticated Swing is the fifth album by jazz saxophonist Cannonball Adderley, and his fourth released on the EmArcy label, featuring performances with Nat Adderley, Junior Mance, Sam Jones, and Jimmy Cobb. https://en.wikipedia.org/wiki/Sophisticated_Swing

Personnel:  Cannonball Adderley - alto saxophone;  Nat Adderley – cornet;  Junior Mance - piano;  Sam Jones - bass;  Jimmy Cobb - drums

Sophisticated Swing

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Various - The Miles Davis Sidemen

Bitrate: MP3@320K/s
Time: 91:22
Size: 209.2 MB
Styles:
Year: 2013
Art: Front

[ 5:24] 1. Herbie Hancock - Cantaloupe Island
[ 7:48] 2. Sonny Rollins - Doxy
[ 5:46] 3. Herbie Hancock - Aung San Suu Kyi
[ 4:16] 4. John Coltrane - In A Sentimental Mood
[ 4:38] 5. Bill Evans - Everything Happens To Me
[ 6:41] 6. Paul Chambers - Dear Old Stockholm
[ 6:55] 7. Keith Jarrett - Bop-Be
[ 6:35] 8. John Scofield - A Go Go
[14:15] 9. Chick Corea - Spain
[ 6:48] 10. Jack Dejohnette - Indigo Dreamscapes
[ 4:59] 11. Tony Williams - Vashkar
[ 5:10] 12. The Cannonball Adderley Quintet - Mercy, Mercy, Mercy
[ 3:39] 13. Stan Getz - Anything Goes
[ 4:07] 14. Kai Winding - Speak Low
[ 4:13] 15. Gil Evans - Moon And Sand

Miles Davis is widely regarded as one of the most important musicians of the 20th century, being at the cutting edge of bebop, hardbop and fusion, just to name a few of the jazz movements he helped shape. Along the way, he influenced generations of musicians, including many sidemen who would enjoy influential and successful careers of their own.

The Miles Davis Sidemen mc
The Miles Davis Sidemen zippy

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Cannonball Adderley - Julian 'Cannonball' Adderley

Bitrate: MP3@320K/s
Time: 41:02
Size: 93.9 MB
Styles: Bop, Saxophone jazz
Year: 1955/2003
Art: Front

[4:14] 1. Cannonball
[4:55] 2. Willows
[3:40] 3. Everglade
[3:04] 4. Cynthia's In Love
[4:15] 5. Hurricane Connie
[4:12] 6. The Song Is You
[3:31] 7. Purple Shades
[5:45] 8. Rose Room
[3:45] 9. Fallen Feathers
[3:35] 10. You'd Be So Nice To Come Home To

Julian "Cannonball" Adderley (nicknamed for his estimable appetite, related to high school friends who called him a cannibal) made his debut in the jazz world with this album, with enormous help from Quincy Jones, who assembled the band, lent arrangements, and composed many of the selections. It's clear from the outset that Adderley's main influences were Benny Carter and Charlie Parker, and he was able to synthesize both icons into a sound that was so seamless, and tasteful like butter. This little big band of all-stars included brother Nat Adderley on cornet, and a band with slight personnel changes over three separate recording sessions in the late summer of 1955. Adderley could hardly go wrong working with heavyweights like J.J. Johnson, Cecil Payne, Jerome Richardson, Jimmy Cleveland, Paul Chambers, pianist John Williams, and either Max Roach or Kenny Clarke playing the drum kit. To play original compositions penned by another on a first effort is a bold step, but it works well and expresses great trust between the soloist and ostensible producer. Of the pieces contributed by Jones, "Hurricane Connie" is the simplest but most impressive track with all five horns playing together in hard bop accord, "Fallen Feathers" reflects the Count Basie/Kansas City approach to modern jazz, while "Willow" is the lightest song in a modal calypso, showing the most arranged construct. Jones and Adderley collaborated writing "Cannonball," but it's mostly a solo for the alto saxophonist over the well-swung nonet, and "Everglade" is an effortless, glossy, ting-ting Latin chart as Adderley expresses his voice in a slightly vocal vibrato. Of the standards, there's a cover of the swing standard "Rose Room" where Adderley's alto meshes more with the other horn players, "The Song Is You" has the leader stepping forward asserting his song style voicings, and "You'd Be So Nice to Come Home To" has a unique chamber-style arrangement. Nothing on the album screams as a standout, but there's an even-keeled consonance that is very enjoyable, and lingers to the point where you want to listen again and again. That enduring quality makes this recording special, and set the bar high for what Adderley would produce through a long and fruitful career as a jazz master. This album is the seed for that field of flowers. ~Michael G. Nastos

Julian'Cannonball'Adderley  

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Jon Hendricks - A Good Git-Together

Styles: Vocal

Year: 1959

File: MP3@320K/s

Time: 38:00

Size: 89,3 MB

Art: Front

(1:03)  1. Everything Started In The House Of The Lord

(3:58)  2. Music In The Air

(3:50)  3. Feed Me

(2:22)  4. I'll Die Happy

(2:53)  5. Pretty Strange

(5:03)  6. The Shouter

(5:21)  7. Minor Catastrophe

(2:22)  8. Social Call

(4:55)  9. Out Of The Past

(3:41) 10. A Good Git-Together

(2:26) 11. I'm Gonna Shout (Everything Started In The House Of The Lord)

On various tracks, Jon Hendricks' first album as a leader, released in 1959, features such major sidemen as altoist Pony Poindexter, guitarist Wes Montgomery, and both Nat and Cannonball Adderley. Hendricks who was riding high in Lambert, Hendricks & Ross at the time is in superb form on such numbers as "I'm Gonna Shout (Everything Started in the House of the Lord)," a couple of songs that Hendricks had written for Louis Jordan, Randy Weston's "Pretty Strange," "Social Call," and the jubilant "A Good Git-Together." ~ Scott Yanow https://www.allmusic.com/album/a-good-git-together-mw0000551672

Personnel:  Jon Hendricks - vocal;  Ike Isaacs – double bass;  Monk Montgomery – bass;  Nat Adderley – cornet;  Walter Bolden – drums; Walter Tolgen – drums;  Wes Montgomery – guitar;  Gildo Mahones – piano;  Pony Poindexter – alto saxophone, vocals;  Cannonball Adderley – alto saxophone;  Bill Perkins – tambourine;  Buddy Montgomery – vibraphone

R.I.P.
Born: September 16, 1921
Died: November 22, 2017

A Good Git-Together

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