JSngry

This is the tune that got English lyrics & became "What A Difference A Day Made", right? The title means "When I Return To Your Side", "vuelva" being some form of the verb that means "return" (I would say "come back" but that would jsut add fuel to the fire, so to speak...) Another example - the bolero "Somos Novios" got retrofitted and became "It's Impossible".

I dunno, when I hear "Frosty", I think of either Burl Ives or Albert Collins. Anything else is off my radar...

Peter, I hear ya', but neither of these new releases are electrified, nor are they overly commercial. Both have the obligatory soul-jazz pieces (played the way those type things should be played, imo), but both are also basically the type of thing that somebody who doesn't like electrified and/or overly commercial Cannonball ought to enjoy just fine. Plenty of straight-ahead playing on both. Now, it's geek time - why is the label on both these the turquoise, "dome" variant of a Capitol label? Where's the good ol' "rainbow" label?

I keep hearing that he's brain-damaged from all the blow. To what extent varies by who's telling the story. But hell, if he's even functional, that's good news.

No grease here: But plenty of acid anyway...

I'm thinking that the whole shebang is going to be available on one of those flash drive things, and that I'll get it and toss it out, thinking that it's a usedup lighter. Planned obsolescence!

I'll get the LP used when I come across it. I like "full packaging for the money". Wurlitzer, eh? HELL yeah!

Yep.

Well, the ladle's got holes in it, and there's enough Everclear in the punch to kill the germs (and the flavor), so no harm done.

Jim, could you talk about this a little more? Mercy, Mercy, Mercy has some of this on the first track ("Fun" I believe) -- Cannonball's playing dipping into avant-garde waters. Does the new release have more or less of this kind of stuff? In the recent Zawinul biography, he talks about how the band's music really started getting adventurous once Charles Lloyd joined. I don't remember whether what I've heard from Fiddler on the Roof has the more adventurous Cannonball sound, though "74 Miles Away" from 1967 definitely has that vibe -- Cannonball takes a very intense, inside-outside solo. Maybe I'm a little weird in that I like this style of Cannnonball's playing better than the late 50s/early 60s style (which I like too, don't get me wrong). I guess the moral of the story is, pick up Money in the Pocket soon. Guy ← This all ties in to the comments and reactions towards the Cannoinball cut I included in my recent BFT, o excuse any repetition. The band w/Lloyd is best heard on the Radio Nights side, in my opinion. Money... has a little bit of the more open playing of Cannoinball, but like I said, it's early in the game still. I like later Cannonball's playing better, too. Unfortunately, the records usually don't do it justice. They were geared towards (and reached) a "broader" audience. But there are glimpses, and sometimes more than just glimpses (nathan's mention of Inside Straight is on the money, afaic). Zawinul said that Cannonball's band of the late 60s*early 70s was "playing hipper music than Miles'", and albums like The Price You Got To Pay To Be Free, while containing much of the aforementioned "broader a[[eal" material, contain enough edited snippets to suggest that this was more than just an Idle boast on Joe's part. Investigation of the unedited session tapes of some of these sides (Black Messiah, w/George Duke, is another one) ought to be a priority for somebody. As for Nat, imo he was a good-not-great-player, and a good composer in a certain niche, but what he had in abundance was personality. And what made that band so appealing to so many peole was exactly that = personality. You weren't just listening to a bunch of cats playing tunes, you were hanging out with some groovy cats. A set (or night) with the Adderley's was like a hang at a really hip family outing. They were brithers, for crissakes, and remember - they were Southern men as well. Nat was the "less talented" (relatively, of course) brother who nevertheless brought a quality that complimented and amplified Cannonball's earthier side. The various pianists did the same to Cannonball's more intellectual side, and the bassists/crummers always were able to cover both sides with equal depth and aplomb. We're talking group/family dynamics here. All great bands have them, and the Adderley brothers's bands had them more than most. I've no doubt whatsoever that the "brother" thing was an essential ingredient to all this, as was the "Southern" thing (funny how a lot of people knock Southern "simplicity", yet still find it irresistible when presented with any kind of intelligence...) . It takes more than just great players to make a great band. It takes a special blend of personalities. Cannonball knew this quite well (and his Education Of A Bandleader essay in Jazz Panorama for an indication of how early on he began to be aware of it. And - there's more to being a great band than just playing great music...

Checked out Domination last night, and it's good. It's also as I remember it, which is that it's not exactly everything that you'd (I'd) hope for from an Adderley/Nelson collaboration. But oh well about that. What's interesting to me is to hear a sax section w/both Marshall Royal and Phil Woods as the altoists. Which one plays lead? It's hard to tell, almost like they cancel each other out! Hey, it's a fine side overall. Btw - "Experience In E' has had the synth parts removed. I'm more partial to Money In The Pocket, but am glad to have both on CD.

Is catesta really Pat Robertson's henchman?

Six grand is too much to pay for any alto...

Garzone, eh? Well, no wonder!

You'll be well-pleased by Money..., I assure you. It's live and unedited. Virtually screams WORKING BAND IN ACTION!!!! if you know what I mean (and I know that you do). This is right at the time when Ball began to open up harmonically, and if there's not a lot of it going on, there's enough to notice. There's also a heretofore unheard Zawinul composition that has a Mingus-y/early-Shorter quality to it. Pretty interesting historical find, that one is. But overall, the attraction is just the energy and the good vibe. These fools didn't goof on nothin', they just played it all really, REALLY, well. And play it all they did - the balance of presentation is impeccable. From bossa to boogaloo to hardass uptempo burns to standard balladry to progressive, it's all hear, and it all sounds just so damn FINE. God bless Cannonball Adderley, and God bless working bands, if any still exist. But - you'll probably be less well-pleased when you read in the liner notes what else was on the tapes and din't get released here...

Just got done w/Money..., and all I can say is that most of the people who post here are going to want this one. It ain't "perfect", but it damn sure is GOOD. Ignore it at you peril!

I've seen iPods offered on eBay that are loaded with the complete works of certain composers. Seems like a clever but ultimately wrong move to me.

He recorded w/Randy Weston too. Really dug his work in The Incident.

Al hears autumn, I hear spring. Ear of the behearer, I suppose. No matter, it's beautiful and continually fresh music. A minimal pallate richly painted, and the silences are often louder than the sound. fwiw, Chamber... had another cover, a green one. That's how I first came across it. Can't find an online image, though.

For Prestige LPs, I'd think that something by Gene Ammons (Angel Eyes?) or Groove Holmes (Misty?) might be a contender. Riverside - how about Mongo's album that had "Watermelon Man"? Memphis Underground was a pretty big hit in its day as well, but, yeah, I think that Swiss Movement was probably bigger. And Getz/Gilberto was huge.

Don't think that "Work" is related to "Nice Work", even extrapolationally, but it is related to "Hornin' In", at least as far as the A-Section changes go.

How can a gift be a gift if it is refused by the recipient?

Q.E.D.