2020. 2. 16. 06:43ㆍ카테고리 없음
Cannonball Adderley Personal Life
Hot on the heels of session work with and his -era group, alto saxophonist recorded this excellent live date with his brother, cornetist, along with pianist, bassist, and drummer. Defined the accessible, yet technically challenging, soul-jazz that Adderley would be associated with for the rest of his career. The warm, exuberant feel of the quintet is especially evident on the set's two finest tracks - a spirited take on 's 'Hi-Fly,' and on ' swinging 'This Here.' Two of Adderley's own compositions, 'Spontaneous Combustion' and 'You Got It!,' blend blazing post-bop dexterity with pulsing, infectious blues structures. Both and play with stunning, bluesy brilliance here, while the rhythm section ably anchors the proceedings. Outside of, Adderley's 1958 masterpiece, may be the saxophonist's defining moment.
In the late 1950s and early 1960s, alto saxophonist Cannonball Adderley enjoyed his greatest popularity as measured by the commercial success of Riverside releases featuring his own group with his brother Nathaniel on cornet. The sessions were frequently recorded live, including spoken introductions by the ebullient leader, presenting some 'accessible' tunes, and spotlighting at least one real crowd-pleaser ('This Here,' 'Sack O' Woe,' 'Jive Samba,' 'Mercy Mercy, Mercy'), each later appearing as a hit single.These sessions are memorable less for the individual solos than the fire of the ensemble, anchored and propelled by one of the best walking bass players in the business, Sam Jones. Returning to these once-popular Adderley brothers releases is to lament the absence of such ensembles on today's scene as well as to be reminded of the relatively hard times the alto giant would encounter by the early 1970s, when he had trouble booking the group (reduced to auditioning for clueless Student Activities Directors shopping for next year's campus entertainment). Regardless, any of these Adderley brothers' Riversides represents the so-called 'hard bop' idiom at its best and, like the groups of Art Blakey and Horace Silver, should be required listening for the ensemble sound alone.Standing at the head of an impressive succession of popular on-location albums, 1959's In San Francisco not only established the formula but is, in its own right, an exemplary session, perhaps superior to the later groups with pianist Victor Feldman or Joe Zawinul and tenorist/flutist Yusef Lateef.
Cannonball Adderley San Francisco Rar Album
The presence of the hard-swinging Timmons certainly increased the funk and soul appeal of this Adderley edition.The leader is in especially high spirits on the present date, confiding to the crowd that Timmons' 'This Here' is known in the community as 'Dish heah,' and putting it in the context of church music before unleashing Timmons' infectious down-home introduction on the jazz-soul waltz. The remainder of the program consists of two bristling Adderley originals and three jazz standards that, though still in the repertoires of countless musicians, have rarely been played better: Randy Weston's 'Hi Fly,' Oscar Pettiford's 'Bohemia After Dark,' and Monk's oft-recorded blues, 'Straight, No Chaser.'