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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Jimmy Forrest - Out Of The Forrest

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 37:16
Size: 85,5 MB
Art: Front

(4:09)  1. Bolo Blues
(5:08)  2. I Cried for You (Now It's Your Turn to Cry over Me)
(4:23)  3. I've Got a Right to Cry
(4:05)  4. This Can't Be Love
(5:17)  5. By the River Sainte Marie
(5:12)  6. Yesterdays
(4:04)  7. Crash Program
(4:54)  8. That's All

This CD reissue is an excellent example of tenor saxophonist Jimmy Forrest in a soulful but fairly straight-ahead setting. Accompanied by pianist Joe Zawinul, bassist Tommy Potter and drummer Clarence Johnston, Forrest revives his "Bolo Blues," and plays his basic "Crash Program," and otherwise sticks to melodic standards. His highly expressive powers and ability to say a lot with a few notes is very much in evidence on this excellent set. 

~ Scott Yanow  http://www.allmusic.com/album/out-of-the-forrest-mw0000234092

Personnel: Jimmy Forrest (tenor saxophone); Joe Zawinul (piano); Tommy Potter (bass); Clarence Johnston (drums).

Out Of The Forrest

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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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Weather Report - 8:30

Styles: Jazz Fusion
Year: 1979
File: MP3@320K/s
Time: 71:35
Size: 166,5 MB
Art: Front

(9:47)  1. Black Market
(6:04)  2. Teen Town
(8:01)  3. A Remark You Made
(4:45)  4. Slang
(2:52)  5. In A Silent Way
(6:58)  6. Birdland
(3:33)  7. Thanks For The Memory
(9:28)  8. Badia/Boogie Woogie Waltz
(2:36)  9. 8:30
(8:34) 10. Brown Street
(3:16) 11. The Orphan
(5:35) 12. Sightseeing

Weather Report is generally regarded as the greatest jazz fusion band of all time, with the biggest jazz hit ("Birdland") from the best jazz fusion album (1977's Heavy Weather). But the group's studio mastery sometimes overshadows the fact that it was also a live juggernaut so don't overlook the outstanding live and studio album from 1979, 8:30. This was a rare quartet version of Weather Report, with co-leaders in keyboardist Joe Zawinul and saxophonist Wayne Shorter. The bassist was the inimitable Jaco Pastorius, the drummer a young Peter Erskine. Pastorius is otherworldly on early gems like "Black Market," the breakneck "Teen Town," and his solo showcase, "Slang" (in which he quotes Jimi Hendrix's "Third Stone from the Sun"). Shorter is most involved on the CD's slower pieces like "A Remark You Made," "In a Silent Way," and his own solo piece, "Thanks for the Memory"; Zawinul and Erskine shine on the swinging version of "Birdland" and roller coaster ride of the "Badia/Boogie Woogie Waltz" medley. 

Four studio tracks (composing what was side four of the original album version) close 8:30 with a flourish and some surprises. Pastorius duets on drums with Zawinul on the brief title track, then plays double drums with Erskine (as Erich Zawinul plays percussion) on the playful "Brown Street." Zawinul then throws a curve with "The Orphan," dueting with Shorter as ten members of the West Los Angeles Christian Academy Children's Choir chant harmonies. The saxophonist gets in the last word, though, with his burning composition "Sightseeing" on which he plays unison lines with Zawinul over Pastorius' rare walking bassline and Erskine's most aggressive drumming. A future jazz standard ending one of this band's standard-setting CDs. ~ Bill Meredith https://www.allmusic.com/album/830-mw0000198916

Personnel: Joe Zawinul – keyboards, bass synthesizer, vocoder, percussion; Wayne Shorter – tenor saxophone, soprano saxophone; Jaco Pastorius – fretless bass guitar, percussion, drums on "8:30" & "Brown Street"; Peter Erskine – drums; Erich Zawinul – percussion on "Brown Street"; The West Los Angeles Christian Academy Children's Choir – vocals on "The Orphan"

8:30

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Herbie Mann - A Man And A Woman

Styles: Flute Jazz
Year: 2002
File: MP3@320K/s
Time: 27:36
Size: 64,7 MB
Art: Front

(2:25)  1. A Man and a Woman
(2:34)  2. Day Tripper
(2:43)  3. Come Back to Me
(2:32)  4. Little Boat
(2:10)  5. It's Time That You Settled Down
(2:13)  6. A Good Thing (Is Hard to Come By)
(2:15)  7. 1-2-3
(2:33)  8. Only Yesterday
(2:24)  9. Sunny
(2:38) 10. How Insensitive
(3:04) 11. The Sidewinder

A Mann & A Woman is an album by American jazz flautist Herbie Mann and vocalist Tamiko Jones released on the Atlantic label in 1967. https://en.wikipedia.org/wiki/A_Mann_%26_A_Woman

Personnel:  Herbie Mann - flute; Tamiko Jones - vocals - with various ensembles including: Roy Ayers, Gary Burton - vibraphone; Joe Zawinul - piano; Victor Gaskin, Reggie Workman - bass; Everett Barksdale - electric bass; Bruno Carr, Roy McCurdy - drums; Carlos "Patato" Valdes - congas, percussion; Tamiko Jones - vocals; Melba Liston, Jimmy Wisner, Joe Zawinul - arranger

A Man And A Woman

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Nat Adderley - You, Baby

Styles: Cornet Jazz
Year: 1968
File: MP3@320K/s
Time: 36:09
Size: 92,7 MB
Art: Front

(2:47)  1. You, Baby
(3:21)  2. By The Time I Get To Phoenix
(4:57)  3. Electric Eel
(2:23)  4. Early Chanson
(4:00)  5. Denise
(3:45)  6. Early Minor
(4:29)  7. My Son
(4:21)  8. New Orleans
(3:31)  9. Hang On In
(2:34) 10. Halftime

As Cannonball Adderley moved with the times in the late '60s, so did brother Nat on his own. While Adderley generally buys into Creed Taylor's A&M mixture of top-flight jazz talent, pop tunes and originals, and orchestrations packaged in bite-sized tracks, this album has its own pleasingly veiled yet soulful sound quite apart from its neighbors in the A&M/CTI series. Give credit to Adderley's successful use of a Varitone electronic attachment on his cornet, giving the horn an "electric blue" sound which he handles with marvelous rhythmic dexterity. Add Joe Zawinul's lively, funky electric piano from Cannonball's quintet, as well as the brooding, genuinely classically-inspired orchestrations of Bill Fischer that only use violas, cellos and flutes. While not always technically perfect, Adderley's solos have soul and substance; his brief, catchy bop licks on "Halftime" are some of the best he ever played and on Zawinul's "Early Minor," he evokes a sense of loneliness that Miles would have admired. A lovely, intensely musical album, well worth seeking out. ~ Richard S.Ginell https://www.allmusic.com/album/you-baby-mw0000903606

Personnel:  Cornet – Nat Adderley ; Bass – Ron Carter; Cello – Alan Shulman, Charles McCracken, George Ricci;  Flute – George Marge, Harvey Estrin, Jerome Richardson, Joe Soldo, Romeo Penque;  Piano – Joe Zawinul;  Viola – Al Brown, Bernard Zaslav, Selwart Clarke

You, Baby

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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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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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Ben Webster, Joe Zawinul - Soulmates

Bitrate: MP3@320K/s
Time: 42:19
Size: 96.9 MB
Styles: Mainstream jazz, Saxophone jazz
Year: 1963/1984
Art: Front

[6:26] 1. Too Late Now
[6:34] 2. Soulmates
[5:11] 3. Come Sunday
[3:15] 4. The Governor
[5:31] 5. Frog Legs
[6:10] 6. Trav'lin' Light
[3:46] 7. Like Someone In Love
[5:22] 8. Evol Deklaw Ni

Bass – Richard Davis;, Sam Jones; Cornet – Thad Jones; Drums – Philly Joe Jones; Piano – Joe Zawinull; Tenor Saxophone – Ben Webster. Re-issue of Riverside RLP-9476. Recorded at Plaza Sound Studios, New York City; 1963.

What initially seems like an unlikely pairing for this session delivers on its unique pedigree with performances that do full justice to tenor legend Ben Webster and to the then up and coming pianist Joe Zawinul. Recorded in 1963 while the pianist was a member of the Cannonball Adderley Sextet, the session came about as a result of Webster's and Zawinul's sharing a New York apartment for several months. It's actually billed as Zawinul's first session as leader and Webster's last in the U.S. before his move to Europe. The tunes generally keep to mid-tempos, a pace that affords Webster the opportunity to wield the gentler side of his legendary sound. His rich, nuanced tone and magnificent phrasing are superbly in evidence. Listeners only familiar with Zawinul's soul-jazz side with Adderley and later his pioneering synthesizer work with Weather Report may be surprised at his eloquent playing here in a classic style right out of Tommy Flanagan or Red Garland. The presence of Thad Jones -- a legend in his own right -- on cornet for four tacks is a bonus. With a rhythm section rounded out by the slightly lesser legends of drummer Philly Joe Jones and bassist Sam Jones, alternating with Richard Davis, there isn't one false step on this set. It may tend to the mellower side of things, but that simply means there's more opportunity to luxuriate in Webster's peerless sound. ~Jim Todd

Soulmates

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Cannonball Adderley - Quintet & Orchestra

Styles: Big Band, Soul Jazz
Year: 1970
File: MP3@320K/s
Time: 44:48
Size: 102,8 MB
Art: Front

(20:12)  1. Experience In E
(12:37)  2. Tensity
(11:58)  3. Dialogues For Jazz Quintet And Orchestra

The Cannonball Adderley Quintet & Orchestra (also known as Experience in E) is an album by jazz saxophonist Cannonball Adderley recorded in Los Angeles, California in 1970 featuring performances by Adderley's Quintet featuring Nat Adderley, Joe Zawinul, Walter Booker and Roy McCurdy with an unidentified orchestra conducted by William Fisher or Lalo Schifrin.   

https://en.wikipedia.org/wiki/The_Cannonball_Adderley_Quintet_%26_Orchestra

Personnel:  Cannonball Adderley - alto saxophone;  Nat Adderley – cornet;  Joe Zawinul - piano, electric piano;  Walter Booker – bass;  Roy McCurdy – drums;  Unidentified orchestra;  William Fisher - conductor (tracks 1 & 2);  Lalo Schifrin - conductor (track 3).

Thank You Flyingfinger!

Domination

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Nat Adderley - The Scavenger

Styles: Cornet And Trumpet Jazz
Year: 1968
File: MP3@320K/s
Time: 38:36
Size: 89,1 MB
Art: Front

(4:53)  1. Sweet Emma
(5:27)  2. Rise Sally, Rise
(6:08)  3. Unilateral
(3:05)  4. Melnat
(8:15)  5. The Scavenger
(4:47)  6. Bittersweet
(5:58)  7. But Not For Me

Nat Adderley may have spent a significant part of his career in the shadow of his better known older brother, the alto saxophonist Julian 'Cannonball' Adderley, but he was always a major contributor to their shared projects, and achieved a great deal in his own right after his brother's death in 1975. He was born Nathaniel Adderley, and took up trumpet as a teenager in 1946. He began playing in local bands in Florida, and made what became a career long switch to the smaller cornet in 1950. He did so against the prevailing tide. Cornet had been the horn of choice for New Orleans trumpet players in the early days of jazz, but had fallen out of fashion in favour of trumpet by the bop era.

Adderley evolved a distinctive signature on the instrument, blending a rich tone and earthy warmth with the horn's inherent touch of astringency to great effect. He played in an army band for a time during his military service from 1951-3, then joined the band led by vibraphonist Lionel Hampton in 1954, his first association with an established jazz figure. He remained with Hampton until 1955, and cut his earliest recordings for the Savoy and EmArcy labels that same year. Cannonball Adderley had made an early mark in New York when he sat in with bassist Oscar Pettiford at the Cafe Bohemia in Greenwich Village in 1955, but that did not translate into immediate success when the brothers joined forces in Cannonball's Quintet the following year. He broke up the group in 1957, and Nat worked with trombonist J. J. Johnson and bandleader Woody Herman before reuniting with his brother in 1959.

The earlier lack of success quickly evaporated. The band's funky, gospel-tinged jazz became one of the most successful sounds on the hard bop and soul jazz circuit, and they even scored an unexpected chart hit with 'Mercy, Mercy, Mercy' in 1966. Cannonball had featured alongside John Coltrane in Miles Davis's classic Sextet which made the legendary Kind of Blue album in 1959, and that association provided the boost he needed to take off as a star in his own right, with the cornetist very much his right hand man. Nat had continued to record under his own leadership, and made his most famous record for the Riverside label in January, 1960, with a band which featured guitarist Wes Montgomery. The resulting album, Work Song , included the tune which remains his best known composition, 'The Work Song'. Its bluesy call-and-response chorus was an emblematic example of the hard bop style of the period, and is still widely played. More... http://www.jazztrumpetsolos.com/Nat_Adderley_Biography.asp

Personnel:  Bass – Victor Gaskin; Cornet – Mel Lastie, Nat Adderley; Drums – Roy McCurdy; Electric Piano – Joe Zawinul; Flute – Jeremy Steig; Piano – Joe Zawinul; Tenor Saxophone – Joe Henderson; Trumpet [Electric] – Nat Adderley

The Scavenger

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Cannonball Adderley - Nippon Soul

Styles: Saxophone Jazz
Year: 1963
File: MP3@320K/s
Time: 46:17
Size: 106,8 MB
Art: Front

( 9:27)  1. Nippon Soul (Nihon No Soul)
( 3:45)  2. Easy To Love
(10:44)  3. The Weaver
( 2:33)  4. Tengo Tango
( 6:53)  5. Come Sunday
(12:51)  6. Brother John

Recorded live in Tokyo on July 14th and 15th, 1963, Nippon Soul is not the Asian-jazz fusion suggested by the title (check out Cal Tjader's Several Shades of Jade and Breeze From the East for that), but a solid live set that showcases one of Cannonball Adderley's finest groups, featuring himself, brother Nat Adderley on cornet, bassist Sam Jones, drummer Louis Hayes, and most notably pianist Joe Zawinul and reedsman Yusef Lateef. Both near the beginnings of their careers, Zawinul and Lateef nonetheless dominate this set; two of the original tracks are by Lateef, including the centerpiece "Brother John," for John Coltrane and featuring an astonishing extended Lateef solo on oboe, an instrument not normally associated with jazz, but which takes on an almost Middle Eastern fluidity and grace in its approximation of Coltrane's "sheets of sound" technique.

Zawinul arranged the standards for the group, reinterpreting Cole Porter's warm "Easy to Love" as a fleet bebop vehicle for a wicked Adderley solo and working the "Come Sunday" section of Duke Ellington's "Black, Brown and Beige" into a full gospel-style call and response between himself and Jones. Often overlooked, this is one of Adderley's finest albums. The CD reissue includes an extra track, an extended take on "Work Song." ~ Stewart Mason  

http://www.allmusic.com/album/nippon-soul-mw0000654719

Personnel: Cannonball Adderley (alto saxophone); Yusef Lateef (flute, oboe, saxophone, tenor saxophone); Nat Adderley (cornet); Joe Zawinul (piano, electric piano, organ); Louis Hayes (drums).

Nippon Soul

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Joe Zawinul - My People

Styles: World Fusion, Big Band
Year: 1996
File: MP3@320K/s
Time: 52:39
Size: 127,0 MB
Art: Front

(1:52)  1. Introduction  to a Mighty Theme
(6:03)  2. Waraya
(6:36)  3. Bimoya
(3:20)  4. You Want Some Tea, Grandpa ?
(4:12)  5. Slivovitz Trail
(2:29)  6. Ochy-Bala / Pazyryk
(7:53)  7. Orient Express
(4:53)  8. Erdäpfee Blues (Potato Blues)
(6:13)  9. Mi Gente
(4:48) 10. In An Island Way
(4:15) 11. Many Churches

If one must indulge in categories, My People, featuring the Zawinul Syndicate and a United Nations coterie of guests, probably belongs on the vast world music shelf, the links to so-called jazz now so tenuous as to be nearly, but not quite, invisible. On the percolating "Slivovitz Trail," "Orient Express," "Many Churches," and the Caribbean-tinged cleverly titled "In an Island Way," the music does suggest earlier versions of the Syndicate, and Joe Zawinul's nostalgic evocations of Wayne Shorter on the Korg Pepe reach back even further. Otherwise, Zawinul is looking entirely toward ethnic cultures for musical sustenance. The musical structures are linear, the rhythms full of intricacies welded to Zawinul's love affair with the groove, the synthesizer textures usually sparer than ever. There are vocals in several languages by Zawinul's longtime colleague Salif Keita (for whom Zawinul produced a great album in 1991), Syndicate percussionist Arto Tuncboyaciyan, a throat vocal specialist from South Siberia named Bolot, Thania Sanchez, Zawinul himself, and several others. When translated, the lyrics speak of joy and unity among the cultures, and there isn't any doubt that Zawinul's bubbling music feeds the message of uplift. Hear it; you purists may be jiggling along in spite of yourselves. ~ Richard S.Ginell  

http://www.allmusic.com/album/my-people-mw0000613149

Personnel includes: Joe Zawinul (vocals, keyboards, programming); Bolot (vocals, topshur); Richard Bona (vocals, bass); Arto Tuncboyaciyan (vocals, percussion); Salif Keita, Thania Sanchez, Burhan Ocal (vocals); Duke Ellington (spoken vocals); Bobby Malach (tenor saxophone); Mike Mossman (trumpet, trombone); Cheick Tidiane Seck (keyboards); Gary Poulson, Amit Chatterjee, Osmane Kouyake (guitar); Matthew Garrison (bass); Paco Sery, Tal Bergmann (drums, percussion); Alex Acuna, Trilok Gurtu, Rudy Regalado, Michito Sanchez, Souleyman Doumbia (percussion); Ivan Zawinul (programming); Djene Doumbouya, Assitan Dembele, Beto Sabala, Kenny O'Braian, Lucho Avellaneda (background vocals).

My People

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Joe Zawinul Trio - To You With Love

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 34:21
Size: 79,0 MB
Art: Front

(3:19)  1. I Should Care
(3:29)  2. Easy Living
(4:17)  3. Please Send Me Someone To Love
(3:06)  4. It Might As Well Be Spring
(4:28)  5. Love For Sale
(2:53)  6. Squeeze Me
(1:47)  7. Greensleeves
(3:37)  8. My One And Only Love
(2:59)  9. Masquerade Is Over
(4:22) 10. Sweet And Lovely

Joe Zawinul belonged in a category unto himself  a European from the heartland of the classical music tradition (Vienna) who learned to swing as freely as any American jazzer, and whose appetite for growth and change remained insatiable. Zawinul's curiosity and openness to all kinds of sounds made him one of the driving forces behind the electronic jazz-rock revolution of the late '60s and '70s and later, he would be almost alone in exploring fusions between jazz-rock and ethnic music from all over the globe. He was one of a bare handful of synthesizer players who actually learned how to play the instrument, to make it an expressive, swinging part of his arsenal. Prior to the invention of the portable synthesizer, Zawinul's example helped bring the Wurlitzer and Fender Rhodes electric pianos into the jazz mainstream. Zawinul also became a significant composer, ranging (like his idol Duke Ellington) from soulful hit tunes to large-scale symphonic jazz canvases. Yet despite his classical background, he preferred to improvise compositions spontaneously onto tape rather than write them out on paper. More Bio...https://itunes.apple.com/us/artist/joe-zawinul-trio/id362546593#fullText

Personnel: Bass – George Tucker; Congas – Ray Barretto;  Drums – Frankie Dunlop; Piano – Joe Zawinul

To You With Love

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Cannonball Adderley Sextet - Jazz Workshop Revisited

Recorded: 1962
Released: 1963,1986,1992
Reissue: 2001 (Remastered)
Size: 128,4 MB
Time: 55:38
File: MP3 @ 320K/s
Styles: Hard Bop,Soul Jazz,Saxophone
Art: Front,Back,Tray

01. An Opening Comment By Cannonball... [ 0:51]
02. Primitivo [ 9:13]
03. Jessica's Day [ 6:30]
04. Marney [ 6:52]
05. A Few Words... [ 0:13]
06. Unit Seven [ 9:06]
07. Another Few Words... [ 0:26]
08. The Jive Samba [11:02]
09. Lillie [ 4:43]
10. Mellow Bruno [ 6:00]
11. Time To Go Now - Really! [ 0:36]

Adderley's burning 1959 live recording "In San Francisco" was something of a hit for the altoist and his quintet. Fully aware of the high standards they'd set, Cannon and producer Orrin Keepnews decided to return to the Jazz Workshop three years later for another hard-swinging affair. By then, Adderley's band had been fleshed out to a sextet distinguished by the presence of a second wind player in Yusef Lateef. Joe Zawinul had settled into the piano chair a year earlier, while Adderley's cornetist brother Nat and the rhythm team of Sam Jones and Louis Hayes were all holdovers from the previous S.F. record. The exotic, ominous one-chord vamp "Primitivo" makes effective use of Lateef's evocative flute and oboe touches. Another highlight is Nat's 11-minute "Jive Samba," a bossa-nova-based groove that actually found its way onto jukeboxes in severely abridged form. Here Lateef's flute proves to be a dynamic addition to the solo procession.(~~Marc Greilsamer)

In 1963 Cannonball Adderley signed with the Capitol label, retaining the rights to some master tapes recorded earlier while he was with Riverside. This CD (a straight reissue of an earlier LP) therefore contains music much closer to the altoist's freewheeling Riverside period than to his R&Bish Capitol dates. Adderley's greatest band -- his sextet with cornetist Nat Adderley, Yusef Lateef (on tenor, flute and oboe), pianist Joe Zawinul, bassist Sam Jones, and drummer Louis Hayes -- is featured on such exciting numbers as "Jessica's Day," Jones' "Unit 7," and "The Jive Samba." A special treat of this live date is hearing the leader's introductory words to several of the songs.(~~Scott Yanow)

Here we are again with Cannonball and associates in The Jazz Workshop . . and it sounds like a very good place to be. Which is exactly the way it sounded while this warm and happy album was being recorded before a warm and happy, no-empty-seats audience.A great many thousands of listeners must feel very much at home in this setting even though most of them may never even have set foot in the city of San Francisco. For the Workshop, one of the best-known and most relaxed of the nation's jazz nightspots, was of course also the scene of the Adderley's group's very first LP: the remarkable, phenomenally best-selling "Cannonball Adderley Quintet in San Francisco," which helped catapult this band to the top and has become something of a landmark among on-the-job jazz records.The idea of again capturing the band in action in this room is one that, naturally enough, all concerned have had in mind for quite some time. It wasn't just a matter of wanting to return to the scene of the band's initial triumph - although the club will always have a special sentimental value, something like a good-luck charm, for Cannonball and for Riverside. It was also a matter of a long-standing awareness that this is a band that responds magnificently to the stimulus of the right crowd. And, with no offense intended to any other place or people, it has been my experience that audiences in San Francisco in general and at The Jazz Workshop in particular are just about the rightest crowds possible!The group has of course been back several times since that momentous first engagement in 1959. But it wasn't until roughly the third anniversary of that occasion that all the circumstance fell into place to bring about the present album. And although this is not and could not be intended as a 'duplication" of the earlier LP, there are some rather remarkable similarities to be noted. For one thing, no less than four members of the original quintet are still very much on hand: the Adderley brothers themselves, and the unbeatable rhythm team of Sam Jones and Lou Hayes. (In jazz today, such band longevity is in itself something special.) The only changes are that Joe Zawinul, from Austria, has for some time been on piano, and that the group has been augmented to sextet size by the addition of the deep-toned tenor sax and vivid flute of Yusef Lateef.For another thing, there is the inclusion of what seems clearly destined to be another of those rare, all-pervading tunes. The first album had, (do we need to remind anyone?) Bobby Timmons' memorable This Here. Other LPs have introduced other stand-outs (several of which have been assembled on "Cannonball's Greatest Hits"). Now we have Nat Adderley's richly low-down Jive Samba. There was no difficulty in spotting this one: the first time I heard it, and heard the reaction it provoked (such as you can hear on the record), it was obvious that this tune had what it takes. Which was no more than what the band had been telling me since I arrived in town. And even before the release of this album, a short 45-rpm single version of The Jive Samba (extracted from this recording) had sky-rocketed into nation-wide "hit" status.
The very mean Samba is scarcely alone here. There is Cannon's thoroughly unique and gripping "Primitivo"; Lateef's swinging, Ellington. tinged "Mellow Bruno"; and Sam Jones' very pretty ballad, "Lillie" - a total of four quite varied examples of the composing talents of this group. Plus a wonderfully buoyant treatment of a Quincy Jones tune, and an intriguing, adventurous new number contributed by Donald Byrd. Small wonder that, after a night of music like this, the audience gave Cannonball a hard time about leaving the stand.Fortunately, however, there is no curfew hour for recorded club dates. All you have to do is to start listening all over again, from the top.(~~Orrin Keepnews)

Line-Up:
Julian 'Cannonball' Adderley - Alto Saxophone
Nat Adderley - Cornet
Yusef Lateef - Tenor Saxophone, Flute and Oboe
Joe Zawinul - Piano
Sam Jones - Double Bass
Louis Hayes - Drums

Recorded "live" at The Jazz Workshop , San Francisco, September 22 & 23 , 1962

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