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.
Norman Granz was on hand to record music from Cannonball Adderley's first European tour in 1960, but he and the Adderley estate have been parsimonious in dealing out the goods. It took 24 years for Part One, What Is This Thing Called Soul to emerge, and another 13 years passed before this follow-up album came out. But better late than never, as they say, and the reward is hearing Cannonball's alto in full ecstatic flight, lots of fighting work from brother Nat on cornet and the prized rhythm section of Victor Feldman (piano), Sam Jones (bass) and Louis Hayes (drums) in a state of complete rapport…
Verve Jazz Masters 31 presents an introduction to the recordings of Cannonball Adderley. The enclosed booklet includes biographical material and commentary on the songs selected.
Cannonball Adderley was a happy man in an angry time. His success was largely based on that fact and so were his limitations. Called 'the new Bird" because of his remarkable facility on the alto saxophone, he never plumbed the dark depths of sorrow the way his predecessor did: he was Ella Fitzgerald to Charlie Parker's Billie Holiday. Nor did he ebulllient saxophone is showcased here playing classic songs, in small combos, swinging octets, and backed by string orchestras - from his mid-Fifties output for Mercury and EmArcy. With Paul Chambers, Kenny Clarke, John Coltraine, J.J. Johnson, Wynton Kelly an, of course, Cannonball's brother, Nat.
An extension of the popular Original Jazz Classics series (est. 1982), the new OJC Remasters releases reveal the sonic benefits of 24-bit remastering-a technology that didn't exist when these titles were originally issued on compact disc. The addition of newly-written liner notes further enhances the illuminating quality of the OJC Remasters reissues. "Each of the recordings in this series is an all-time jazz classic," says Nick Phillips, Vice President of Jazz and Catalog A&R at Concord Music Group and producer of the series.
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…