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 / 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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James Clay - A Double Dose of Soul

Styles: Saxophone And Flute Jazz
Year: 1960/2011
File: MP3@320K/s
Time: 40:21
Size: 93,2 MB
Art: Front

(6:37) 1. New Delhi
(6:36) 2. I Remember You
(5:41) 3. Come Rain Or Come Shine
(8:03) 4. Pockets
(5:59) 5. Pavanne
(4:11) 6. Linda Serene
(3:11) 7. Lost Tears

James Clay only led two record sessions before settling in obscurity in Texas, where he would not be rediscovered until the late '80s. Cannonball Adderley helped present him on Riverside in 1960, so it seemed fair that Clay utilized several of Adderley's sidemen on this session (cornetist Nat Adderley or vibraphonist Victor Feldman, bassist Sam Jones, and drummer Louis Hayes) along with a young Gene Harris on piano. Clay splits his time between his lyrical flute and tough tenor, proving to be an excellent bop-based improviser. [The CD reissue adds two alternate takes to the original LP program, highlighted by Feldman's "New Delhi," "Come Rain or Come Shine," and Nat's blues "Pockets."]~ Scott Yanow https://www.allmusic.com/album/a-double-dose-of-soul-mw0000678746

Personnel: Saxophone [Tenor] – James Clay; Flute – James Clay; Bass – Sam Jones; Cornet – Nat Adderley; Drums – Louis Hayes; Piano – Gene Harris; Vibraphone – Victor Feldman

A Double Dose of Soul

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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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Sammy Davis Jr.- A Man Called Adam

Styles: Soundtracks, Jazz 
Year: 1966
File: MP3@320K/s
Time: 45:56
Size: 105,8 MB
Art: Front

(3:01)  1. Main Title - All That Jazz
(3:22)  2. I Want To Be Wanted (Song)
(2:06)  3. Go Now
(3:09)  4. Someday Sweetheart (Song)
(3:17)  5. Ain't I
(3:55)  6. Soft Touch
(2:57)  7. Claudia
(3:06)  8. All That Jazz (Song)
(5:09)  9. Back Of Town Blues (Song)
(3:57) 10. Night Walk
(3:16) 11. Whisper To One (Song)
(3:55) 12. Claudia
(2:54) 13. Crack Up (Playboy Theme)
(1:46) 14. All That Jazz (Song)

FSM revives the "Retrograde Records" label for its first new release since 1998: A Man Called Adam, a classic jazz album as well as movie soundtrack. A Man Called Adam (1966) was an independent production starring Sammy Davis Jr. as a troubled jazz trumpet player, costarring Cicely Tyson, Ossie Davis and ratpacker Peter Lawford. Louis Armstrong and Mel Torme appear in the film and on the soundtrack album as does the famously versatile Davis. Adam was notable for its prominence of African Americans both in front of and behind the camera (it was produced by Ike Jones, an associate of Nat "King" Cole). The film's composer was Benny Carter (1907-2003), who may be little-known to soundtrack collectors, but was a hugely respected jazz artist as well as a pioneering figure for African Americans in fact, the first black composer to receive screen credit for an original score for television (on M Squad). Carter worked on numerous classic musicals of the 1940s and '50s and became, on A Man Called Adam, one of only a small number of African Americans to score a motion picture.

The musical requirements of A Man Called Adam called almost entirely for jazz source music, particularly that for the lead character's band (the reason we are issuing it on our Retrograde label). Carter composed and arranged a variety of small band numbers, taking care to achieve not only musical excellence but story appropriateness in reflecting the on-screen performers. ("Night Walk," track 10, is the only score cue on the CD.) The studio musicians include Nat Adderley (who "ghosted" Davis's trumpet performances), Bill Berry, Kai Winding, Tyree Glenn, Junior Mance, Billy Kyle, Buster Bailey, Danny Barcelona and Jo Jones. Original lyrics are by Al Stillman. Unavailable since the Reprise Records LP in 1966, A Man Called Adam is a jazz classic soundtrack with historical significance, and has been remixed here from the three and four-track master tapes for excellent stereo sound. Liner notes are by Jon Burlingame, documenting the film, Carter's importance, and the various selections. https://www.filmscoremonthly.com/cds/detail.cfm/CDID/382/Man-Called-Adam-A/

A Man Called Adam

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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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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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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
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Various - A Life In Time: The Roy Haynes Story (2 parts)

The litany of names that drummer Roy Haynes has worked with in his half-century long career reads like a history of modern jazz, and includes such undeniable luminaries as Lester Young, Bud Powell, Charlie Parker, Miles Davis, Thelonious Monk, Eric Dolphy, Stan Getz, Jackie McLean, Chick Corea, Alice Coltrane, and John Coltrane, all of whom are represented on this three-disc (there is a fourth DVD disc that adds interviews and videos of live shows) survey of Haynes' musical life and times. Spanning 1949 through 2006, at 37 tracks this set only begins to scratch the surface of what Haynes has contributed to jazz, of course, but it is both an ideal starting point and a capsule survey of those contributions. A must for fans and those in the know, but even the most casual listener will be impressed.

Album: A Life In Time: The Roy Haynes Story Part 1
Bitrate: MP3@320K/s
Time: 86:28
Size: 197.9 MB
Styles: Bop
Year: 2007

[2:26] 1. Lester Young - Ding Dong
[3:00] 2. Bud Powell - Bouncin' With Bud
[3:02] 3. Charlie Parker - My Little Suede Shoes
[2:21] 4. Miles Davis - Morpheus
[2:50] 5. Miles Davis - Down
[2:30] 6. Sonny Rollins - I Know
[4:54] 7. Charlie Parker - I'll Walk Alone
[2:38] 8. Sarah Vaughan - Shulie A Bop
[3:32] 9. Nat Adderley - Two Brothers
[2:38] 10. Sarah Vaughan - How High The Moon
[4:20] 11. Roy Haynes - Reflection
[9:27] 12. Thelonious Monk Quartet - Rhythm A Ning
[3:49] 13. Etta Jones - Don't Go To Strangers
[5:41] 14. Eric Dolphy Quintet - On Green Dolphin Street
[2:28] 15. Stan Getz - I'm Late, I'm Late
[8:44] 16. Oliver Nelson - Stolen Moments
[4:40] 17. Roy Haynes Quartet - Long Wharf
[4:07] 18. Roy Haynes Quartet - Snap Crackle
[9:03] 19. Jackie Mclean - Esoteric
[4:09] 20. John Coltrane Quartet - After The Rain

A Life In Time: The Roy Haynes Story Part 1 mc
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Album: A Life In Time: The Roy Haynes Story Part 2
Bitrate: MP3@320K/s
Time: 127:03
Size: 290.8 MB
Styles: Bop
Year: 2007
Art: Front

[ 6:53] 1. Andrew Hill - Black Fire
[ 7:53] 2. Jack Dejohnette - Poppa Daddy And Me
[ 6:27] 3. Chick Corea - Matrix
[11:41] 4. Alice Coltrane - Transfiguration
[ 3:02] 5. Michel Petrucciani - Little Peace In C For U
[ 6:22] 6. Gary Burton - Question And Answer
[17:20] 7. John Coltrane - My Favorite Things
[ 4:35] 8. Roy Haynes - James
[ 4:24] 9. Roy Haynes - Equipoise
[ 7:15] 10. Roy Haynes - After Sunrise
[ 7:01] 11. Roy Haynes - My Heart Belongs To Daddy
[ 5:55] 12. Roy Haynes - Vistalite
[ 6:43] 13. Roy Haynes - Water Children
[ 7:36] 14. Roy Haynes - Brown Skin Girl
[ 8:19] 15. Roy Haynes - Greensleeves
[ 6:53] 16. Roy Haynes & The Fountain Of Youth Band - Hippidy Hop
[ 8:37] 17. Roy Haynes & The Fountain Of Youth Band - Segment

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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
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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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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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Nat Adderley & The Big Sax Section - That's Right!

Bitrate: MP3@320K/s

Time: 37:57

Size: 86.9 MB

Styles: Bop, Soul-jazz

Year: 1960/1993

Art: Front

[3:56] 1. The Old Country

[6:10] 2. Chordnation

[4:15] 3. The Folks Who Live On The Hill

[4:17] 4. Tadd

[4:16] 5. You Leave Me Breathless

[2:28] 6. Night After Night

[3:49] 7. E.S.P

[8:43] 8. That's Right!

Alto Saxophone – Julian "Cannonball" Adderley; Baritone Saxophone – Tate Houston; Bass – Sam Jones; Cornet – Nat Adderley; Drums – Jimmy Cobb; Flute – Yusef Lateef; Guitar – Jim Hall; Oboe – Yusef Lateef; Piano – Wynton Kelly; Tenor Saxophone – Charlie Rouse, Jimmy Heath, Yusef Lateef. Recorded Aug. 9 and Sept., 1960.

One of cornetist Nat Adderley's best early albums, That's Right has eight selections (seven of which were arranged by Jimmy Heath) that feature Nat with five saxophonists (altoist Cannonball Adderley, baritonist Tate Houston, and the tenors of Yusef Lateef, Jimmy Heath, and Charlie Rouse), and a rhythm section led by pianist Wynton Kelly. Despite Cannonball's presence, this is very much Nat's date (the altoist has just one solo), although there is some ample solo space for the three tenors. Highlights include Nat's memorable original "The Old Country," a touching version of "The Folks Who Live on the Hill," and "You Leave Me Breathless." Recommended. ~Scott Yanow

That's Right! 

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J.J. Johnson - The Trombone Master

Bitrate: MP3@320K/s
Time: 46:19
Size: 106.0 MB
Styles: Trombone jazz
Year: 1989
Art: Front

[6:34] 1. Misterioso
[3:51] 2. Laura
[5:56] 3. What Is This Thing Called Love
[4:38] 4. My Old Flame
[9:08] 5. Blue Trombone
[4:46] 6. What's New
[4:27] 7. Satin Doll
[4:46] 8. Cry Me A River
[2:08] 9. Goodbye

Bass – Paul Chambers, Sam Jones); Cornet – Nat Adderley; Drums – Albert Heath, Lou Hayes, Max Roach; Piano – Tommy Flanagan, Victor Feldman; Trombone – J.J. Johnson; Vibraphone – Victor Feldman.

This selection of Columbia recordings is from 1958-1960. Mr Johnson was THE trombonist of the time and plays to such a consistently high standard that it would be impossible to pick out highlights in his playing. The first four tracks are from the album `J.J. In Person' and they benefit from the presence of Nat Adderley (cornet) whose exciting solo on the opening number always turns heads. Next two selections are from `Blue Trombone' and the track bearing that name is a 9-minute classic with terrific support from Tommy Flanagan (piano), Paul Chambers (double bass) and Max Roach (drums). The remaining tracks seem less remarkable but still worthwhile. Young listeners who are not familiar with J.J. would find this CD a good introduction. ~Colin Jones

The Trombone Master

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