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king ubu

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Posts posted by king ubu

  1. Bruce: back in the old board's days, I mailed Mosaic about Dizzy Reece and Clifford Jordan and got the following reply:

    "Dizzy Reece and Clifford Jordan are on the list!



    hope he's true about this! Would love to see them on Mosaic, too!

    And would love a Farlow/Costa set. How many records are there? I only know "This Is" and "Swingin' Guitar of" and they're of course both marvellous!


  2. that's good news! I love the Columbia Monk reissues a lot, too! Keepnews doing a good job, for once :P

    I have not bough the still widely available french Columbia CDs of these, waiting for the "real" ones to come.

    Love the Monk comp 3CD, too, although I think most unissued material from there will resurface on the upcoming single reissues.


  3. Cannonball Adderley, self-titled,

    Julian "Cannonball" Adderley, alto sax

    James Cleveland, trombone

    Jerome Richardson, tenor sax

    Cecil Payne, baritone sax

    Nat Adderley, trumpet

    J.J. Johnson, trombone

    Paul Chambers, bass

    John Williams, piano

    Max Roach, Kenny Clarke, drums.











    Recorded July and August 1955 at Capitol Studios, New York City: tracks 4-7 on July 21; tracks 1, 3, and 10 on July 29; tracks 2, 8, and 9 on August 5


    and here are Leonard Feather's liner notes:


    New stars are a dime a dozen in jazz nowadays. Every sixteen bars or so, somebody comes along who is hailed as the next this or the coming that, and in no more time than it takes to sign his name to a record contract, presto! he is the Star of his own LP.

    New stars of the caliber of Cannonball, however, are by no means a dime a dozen. This much was obvious almost from the moment he got off the train from Florida.

    Before we go any further it might be as well to explain that Cannonball's nickname has no bearing, except perhaps a coincidental one, on the dynamic manner in which he projects his musical thoughts through his alto saxophone. The name derived originally from "cannibal," an honorific title imposed on him by high school colleagues as a tribute to his vast eating capacity. (When you see Cannonball you will observe that his appetite clearly has not diminished).

    As far as his family is concerned Cannonball is Julian Adderley, born September 15, 1928 in Tampa, Florida. Studying music at high school and college in Tallahassee from 1940 to '48, he became proficient on trumpet, later on alto, clarinet, tenor and flute.

    Everybody in the Adderley family is musically inclined. Julian and his brother Nat, who plays trumpet on these sides, enjoyed a period of juvenile glory as boy sopranos. Their father, a jazz cornetist, and an old college roommate of his by the name of Kirksey who became a band director in Florida, were the major influences on the younger Adderleys. Julian himself became band director at Dillard High School in Fort Lauderdale in 1948. He has remained there almost continuously, with time out for a period in the service and for further studies of reed instruments at the U.S. Naval School of Music in Washington in 1952. As side ventures during his tenure at Dillard, he has had his own group off and on since 1948. While in the Army in 1952 to '53 he led both a large dance band and a small combo.

    In the summer of 1955 Cannonball came to New York. On the night after his arrival he and Nat visited the Café Bohemia in Greenwich Village, where Oscar Pettiford was leading a small group in which the tenor player was Jerome Richardson, whom you will hear on these sides with Cannonball. Richardson happened to show-up late that night, so Pettiford, who knew little about Cannonball and was not too anxious to take a chance, grudgingly allowed him to sit in. Pettiford whipped the band into I'll Remember April at a racehorse pace, fully expecting to chase an embarrassed Cannonball off the bandstand. Cannon-ball, of course, sailed through a long solo with an equanimity that astonished everybody. As you might expect, he remained on the stand as a welcome guest for the rest of the night.

    Within a few days word about Cannonball had spread around town. On the recommendation of Quincy Jones and Clark Terry, Bob Shad of EmArcy took the unprecedented step of signing Cannonball to an exclusive contract without ever having heard him play.

    The performances on these sides, for which Quincy wrote the arrangements, took place at three sessions held in New York City. At the first date, on July 21, 1955, the personnel included Cannonball on alto, his brother Nat Adderley on trumpet, Jerome Richardson on tenor, Cecil Payne on baritone, Jimmy Cleveland on trombone, John Williams on piano, Kenny Clarke on drums and Paul Chambers on bass. At this session the numbers recorded were The Song is You, Cynthia's in Love, Hurricane Connie, and an old pop song called Purple Shades.

    At the second date, held July 29, the same personnel was used except that J. J. Johnson replaced Cleveland. The tunes cut were Cannonball, written by Julian; Nat's Everglades; and You'd Be So Nice To Come Home To.

    On the third session, recorded August 5, a second personnel change was made: Max Roach replaced Clarke, J. J. was still on trombone and the rest of the men were the same. This date produced Willows, an old standard tune; Fallen Feathers, a Quincy Jones original inspired by a famous CharlieParker solo; and Rose Room.

    I believe that in the course of listening to these ten performances you will derive a clear picture of the magnitude and flexibility of Cannonball's talent. On a casual first hearing, particularly if you happen to listen to one of the faster tunes, you may get the impression that he sounds like Charlie Parker. Up to a point you would be right; but if you were to claim that a new ball player hit the way Jackie Robinson used to, or that a new speaker you heard at a banquet reminded you of the way F.D.R. spoke English, would any derogation, any implication of lack of originality be implied? Is there any better way of doing any job than the best way? Cannonball sounds like Parker only to the same extent that any two other artists in any other field might similarly be compared. Like F.D.R. and the speaker at the banquet, you could say that Parker and Cannonball both spoke the same language.

    Cannonball's favorite alto men are Charlie Parker and Benny Carter. That the peerless Benny made an impression on him that is still reflected in his work can be heard by close study of the several slow tempo numbers in this set.

    It would be hard to select any one item as a complete demonstration of Cannonball's talent, but my personal choice would be the number that bears his name as its title-on which, by the way, Nat also delivers what is probably his most impressive solo in the entire set.

    With occasional notable exceptions such as the late Fats Navarro, Florida has not made a large contribution to jazz history. This gap in our culture may be said to have been filled substantially by the arrival of Cannonball; and after hearing these sides there can't be much doubt in anybody's mind that he has indeed arrived. I wonder whether those young students at Dillard High know just how lucky they are.

    Liner Notes by Leonard Feather.



  4. two more nice ones (after, of course, The Fox and the Clifford-Brown-Max-Roach-Quintet):

    Art Farmer, Live at Stanford Jazz Workshop, 1997 (Monarch), with the solid rhythm section of the unheralded Bill Bell, Rufus Reid and Albert Heath

    Philly Joe Jones, Drum Songs, 1978 (a recent Fantasy/Milestone twofer including Drum Song and Advance), with Blue Mitchell (his last date?), Slide Hampton, Charles Bowen, Land, Walton and Marc Johnson


  5. one for brownie?

    on the universal France website, 4 cds by René Urtreger are listed (see link below)

    Universal France

    They seem to look very nice, with solo, quartet and quintet recordings from 1977, 1980, 1985 and 1987, with players like Jean-Louis Chautemps, Jean-Louis Viale, NHOP, Christian Escoudé, André Ceccarelli, Aldo Romano, Jean-François Jenny-Clark.

    Anyone knows them? Can recommend one or all of them? (brownie?...)


  6. And now they have come out with a 7CD box reuniting all the Django Reinhardt

    material they previously issued in single CDs!

    does this include exatly the same stuff as the 7 single volumes? or any additional material, so we need to have the box, too?

    and yes, that Slide Hampton disc is a marvel!


  7. Ubu, hope you also checked the Bernard Peiffer albums and the Rene Urtreger

    Plays Bud Powell CD. Rare sessions from two underrated French pianists.

    The Urtreger album may be short on playing time (it was originally a 10-inch LP)

    but it is filled with great music.

    Not yet, brownie (I counted them yesterday and I got even more than half of'em!), but I plan on picking up some more of these. I like Urtreger but hardly know Pfeiffer (except from some appearances as a sideman).

    Thanks for your recommendation (and still grateful for you pointing me to that Chet Baker disc)!


  8. I love many of the mentioned sessions, of course all the stuff with Coltrane, Ornette's Free Jazz, Ezz-thetic might be my favorite Russell session, The Quest is one of the highlights of the Dolphy Prestige box in my opinion, Where is a very nice session, too, and I love the one with Ken McIntyre, I had not heard McIntyre when I got the Dolphy box, and love all that I've heard him play yet..., the sessions with Roach and Booker Little might be among the best ones Dolphy ever took part in, and the Hamilton Ellington Suite was a real find!

    And then here comes a hearty recommendation for the "Mack the Knife" Weill disc. I love it! Dolphy is incredible, a great fit for the band, which actually is in quite a stiff groove, which Dolphy tears up with his soaring playing (check his bass clarinet solo on the first track of the CD!). Then, as far as John Lewis is concerned, I have not dug deeply into his music, knowing only a few scattered discs of his and some early sideman appearances with Bird, but he plays great on the Mack the Knife session with Dolphy!


  9. Good news, indeed, brownie!

    I love that whole series, too, got about a third or half of them (I'm not so good in counting my CDs, seems like I don't really want to know just how many they are ;) ) - and I have to second the recommendation to pick up some of the lesser known names, too. The Wilen is a personal favorite, the Thompsons, Jaspars, René Thomas, the Cinémas, the Bebop disc, the Hodeir/Jazz Groupe de Paris things, the Bill Coleman, the Saxophones, ... many hours of listening pleasures!


  10. Thanks, Chuck! So it was "Love for Sale". And thanks about the Candid dates.

    David: money won't allow ebay (and that particular seller ships US only, so no need to try for me being from Switzerland), but thanks nevertheless!


  11. Sure someone here can help:

    Over at the other board, I remember having read about the drummer on "Jazz Advance" no being Dennis Charles (but Rudy Collins, if I remember correctly). Is that so? Why is Charles listed?

    Then: I missed the Candid Mosaic and would be very glad if someone could provide a complete Candid discography. I checked some online sources and the five single discs I have and there are some contradictions (live my "World of C.T." lists a November date, while the online source I found have the "World of C.T." tracks listed with the October 12/13 sessions which yielded the music on the CD "Air". Then The Drummer for the Tracks Number One, tks 1 & 2, This Nearly Was Mine and Air tk9 is "possibly Sunny Murray replacing Charles" etc etc.) Anyone has some more or less correct information on these dates?



  12. I'm with Lon on Miles in Bird's quintet. He may certainly sound "shaky" or immature of insecure or whatever you may call it - if you want to hear it that way! But if you go beyond that, you might hear a young trumpet player doing something extremely lyrical, and I think what Miles did in the late forties next to Bird was totally apt: he played the style he was able to (technically) and in which he could express his thoughts the best possible.


  13. I just got into listening music by Barbara Dennerlein. If I understand this right she is German and plays the B3 and synthesizer. Maybe not greasy, but damn she shure is funky! Can do without the cheesy synth at times but she writes very good compositions.

    she IS german, you got that right.

    as long as she sticks to b3 i like her playing, but i'm not too fond of her synth stuff.


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