Adderley

Cannonball Adderley gave up his own band in 1957 when he had the opportunity to become a sideman in Miles Davis' epic ensemble with John Coltrane, eventually resulting in some of the greatest jazz recordings of all time (including Milestones and Kind of Blue). Davis returned the favor in March of 1958, appearing as a sideman on Adderley's all-star quintet date for Blue Note, and the resulting session is indeed Somethin' Else…

Nat Adderley & Cannonball Adderley - Soul Zodiac (1972) {Stateside-EMI 50999 2 08515 2 1 rel 2008}
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© 1972, 2008 Stateside / EMI Records | 50999 2 08515 2 1
Jazz / Hard Bop / Soul Jazz / Jazz Funk / Cornet / Saxophone

A few seconds of spacy echo loops and you know where this album is coming from – the early jazz/rock era, the Age of Aquarius and all that. Yet this crazy amalgam of jazz, rock, electronics, and spoken astrological advice by the popular Los Angeles DJ Rick Holmes actually works, for the music behind the soulfully intoned words is very inventive and Holmes plays effectively off its rhythms.

Depending on the nature of the person involved, success either dictates more and more compulsive activity, or else it permits relaxation. With Cannonball Adderley, the latter certainly appears to be the case; and this album can, among other things, serve as a testimonial to the truth of this impression. Adderley is undeniably a successful, widely-acclaimed artist, and it may seem to some that his success came quickly. But it is more in the nature of what one night-club comic once referred to bitterly as "my overnight success after fifteen years." To recap briefly, Cannonball came up to New York in the mid-'5Os with a thorough background as a player…

Cannonball Adderley gave up his own band in 1957 when he had the opportunity to become a sideman in Miles Davis' epic ensemble with John Coltrane, eventually resulting in some of the greatest jazz recordings of all time (including Milestones and Kind of Blue). Davis returned the favor in March of 1958, appearing as a sideman on Adderley's all-star quintet date for Blue Note, and the resulting session is indeed Somethin' Else. Both horn players are at their peak of lyrical invention, crafting gorgeous, flowing blues lines on the title tune and "One for Daddy-O," as the rhythm team (Hank Jones, Sam Jones, Art Blakey) creates a taut, focused groove…

Nat Adderley Quintet - Workin' - Live In Subway, Vol. 1 (1992) {2016 Japan Timeless Jazz Master Collection Complete Series}
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© 1992, 2016 Timeless Records / Solid Records Japan / Ultra-Vibe | CDSOL-6421
Jazz / Hard Bop / Cornet

Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Nat Adderley's not actually busking in the subway – but instead playing a smoking little set at the Subway Nightclub in Cologne – working with an excellent group that includes Vincent Herring on alto sax, and some excellent rhythm work from the trio of Rob Bargad on piano, Walter Booker on bass, and Jimmy Cobb on drums! The tunes are all nice and long, and have a stretching, soulful feel that's really great – and which gets past the "classic" soul jazz cliches that can sometimes mar other Adderley albums from later years. Nat's in fine fine form, and Herring seems to help him unwind in a hip groove that's really carried off well – and the album's got a richness that easily makes it one of the best later sessions from Nat you can find! Titles include "The Chant", "Almost Always", "The Big J", "Plum Street", and "The Scene".

Cannonball Adderley - Phenix (1975) {Fantasy FCD-79004-2 rel 1999}
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© 1975, 1999 Fantasy | FCD-79004-2
Jazz / Soul Jazz / Jazz Funk / Hard Bop / Fusion / Saxophone

Adderley's next-to-last recording (cut just four months before he died of a stroke at age 46) was ironically a retrospective of his career. While his then-current group (with cornetist Nat Adderley, keyboardist Mike Wolff, bassist Walter Booker, and drummer Roy McCurdy) was featured on half of this two-LP set (highlighted by "Stars Fell on Alabama," "74 Miles Away," and a medley of "Walk Tall" and "Mercy, Mercy, Mercy"), on the remainder of this two-fer the Adderleys welcome back several alumni (keyboardist George Duke, bassist Sam Jones, and drummer Louis Hayes) for new versions of "High Fly," "Work Song," "Sack O'Woe," "Jive Samba," "This Here," and "The Sidewalks of New York." A recommended set with plenty of excellent music, it serves as a fine overview of Cannonball Adderley's career.

Nat Adderley - Sayin' Somethin' (1966) {2012 Japan Jazz Best Collection 1000 Series 24bit Remaster}
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© 1966, 2012 Warner Japan / Atlantic / WEA / Rhino | WPCR-27058 | Jazz Best Collection 1000 Series
Jazz / Soul Jazz / Cornet

Features 24 bit remastering and comes with a mini-description. A stone killer from Cannonball Adderley's funky brother – one of the best soul jazz sets ever cut by Nat Adderley, and one done with a smoking 60s Atlantic Records groove! Nat's blowing trumpet throughout – and working in 2 different groups – one a larger ensemble with a tight soulful swing, arranged by Jimmy Wisner – the other a smaller combo with tenor from Joe Henderson and piano from Herbie Hancock! The whole thing grooves beautifully – and titles include "Gospelette", "Call Me", "Cantaloupe Island", "Hippodelphia", "The Other Side", and "Manchild".

Nat Adderley - Live At Memory Lane (1966) {2012 Japan Jazz Best Collection 1000 Series 24bit Remaster}
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© 1966, 2012 Warner Japan / Atlantic / WEA / Rhino | WPCR-27057 | Jazz Best Collection 1000 Series
Jazz / Soul Jazz / Hard Bop / Trumpet

Features 24 bit remastering and comes with a mini-description. Joe Henderson is again in the front line with Adderley for the Live at Memory Lane set. The music, which is in a more advanced hard bop vein than the earlier tracks, is well served by the rhythm section on loan from Cannonball Adderley's quintet: McCurdy, bassist Victor Gaskin, and pianist Joe Zawinul. While it doesn't seem to concern the enthusiastic audience at the Los Angeles club, listeners at home may find one or two of the tracks a bit rambling. Regardless, the set is worthwhile for the presence of Henderson, Zawinul's original pieces, Adderley's own contributions, and for the work of a rhythm section that was part of brother Cannonball's own considerable success during this period.

Cannonball Adderley Quintet - The Price You Got To Pay To Be Free (2016) {Blue Note-Real Gone Music RGM-0453 rec 1970}
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© 1970, 2016 Blue Note / Capitol / Real Gone Music / Dusty Groove | RGM-0453
Jazz / Fusion / Soul Jazz / Modern Jazz / Jazz Funk / Saxophone

Fantastic work from the massive electric years of the Cannonball Adderley Quintet – one of the group's last records to feature the keyboards of Joe Zawinul – and also one of the heaviest from the time! The set's a double-length gem that presents the group in an open live setting – one that really displays the full charm of their approach at the time, and that wonderfully crowd-winning mode that made Cannon a key act at this time for rock and soul audiences too! Adderley raps a bit at key points, and brings some righteous energy to the concert – while the rest of the group follow up with performances that really send the whole thing home – Nat Adderley on cornet, Zawinul on Fender Rhodes and piano, Walter Booker on bass, and Roy McCurdy on drums. Cannon plays some soprano sax, in addition to his familiar alto. Produced by David Axelrod too!