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Cannonball Adderley


Jim Alfredson

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Jim Dye (or anyone): that CD (the cover of which you posted), does that contain the rest of the Nippon Soul/Japanese Concerts stuff? Or is there still some music not on CD yet?

ubu

It has been my understanding that Dizzy's Business contains the rest of the Japanese tapes that didn't make it on to Nippon Soul. But these days, who knows! It'd be great if some more recordings of that band showed up. I just love the Sextet.

Edited by Jim Dye
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' Just been listening to 'Know what i mean ' & thought - wasnt there a Cannoball Adderley thread on Organissimo today ?? - I must mention it ! i've been beaten to it by a lonnnggg time .

i've got quite alot of Bill Evans , hardly any Cannonball but all i heard was some beautiful jazz.

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Let me begin by saying I respect all the opinions previouly expressed in this thread. That is one of the main reasons I continue to visit this board. I find that the opinions espressed here 99% of the time are thoughtful, fairly presented, and often the consensus is right on the money in my opinion. I will admit to being a novice compared to many on this board.

I have been listening to Know What I Mean and I must say that I find Cannonball's playing on this one to be really remarkable. What I find so fascinating is the evidence of control in his playing. The pieces require a subtleness but right under that control you get this wonderful sense of the power that Cannonball had. I think it adds an emotion to the piece that would be missed by lesser players. I am reminded of Miles when he said that sometimes the notes not played are more important than those that are played. IMO Cannonball just gushes soul on this one. He is so right there on each and every tune.

Someone said they thought this one was more of a Bill Evans piece, but I must respectfully disagree in this instance. Bill is great as always, but to my ears Cannonball is the one that puts the soul in this one. If it weren't for his playing I think this one would have gone largely unnoticed. It is unlike many of his more lively recordings, but IMO that is what makes this one so powerful.

Just my two cents. :blink::rolleyes::blink:

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I agree with Morganized, I really do. The disc just doesn't speak to me and ask me to play it, it's probably the least played Cannon cd that I have, I agree that it has phenomenal playing throughout by Bill and Julian. . . .

My main problem is the bass and drums just don't make me "get up with it." I'm not a fan of this bass and drum team.

So I reach for other Cannon and Evans cds so much more often.

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I'm completely with Lon on this one - wonder what a different bass-drum-team could have done...

Generally, I think Evans was just not the guy to lead a date with horns. Of course he was great with Miles, but his ohn quintet/quartet dates are the ones that get the least playing time with me. It's the trios that do more for me.

Then, Cannonball: I think I have never heard any wrong note from him, neither an unfitting one. I consider him one of the giants of the saxophone, and an underrated (though I hate this label) musician/bandleader/catalyst.

Another of my favorite Cannonball recordings is "Things Are Getting Better, with Milt Jackson and the great rhythm section of Wynton Kelly, Percy Heath and Art Blakey.

Great cover, too! ("Cover Photograph, by Charles Stewart, shows Cannonball Adderley with his King Super 20 Alto Sax"). The liners, by the way also include that strange Roverside Sterophonic diagram (the one we discussed earlier, with the phanton speaker etc)

ubu

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Then, for a change of pace, theres also the "Ray Brown With the All-Star Big Band Featuring Cannonball Adderley" album (Verve, 1962). It's included on the following (otherwise fairly good rather than great, double CD:

B00000475D.01.LZZZZZZZ.jpg

And, as a sidenote, that cover story downbeat had on Cannon, some months ago, was a very good read.

ubu

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