Brad Posted June 9, 2003 Report Share Posted June 9, 2003 Alan has these listed as coming out tomorrow. But I happened to be at Border's yesterday (looking for some books for a project my son is working on) and saw Sonny Stitt's New York Jazz. Didn't know the other titles. I just started listening this am to Sonny and it really sizzles. There is some high octane Sonny on there. Borders may have jumped the gun here since CD Universe has them listed as coming out tomorrow. Others that appear to be coming out tomorrow are Lee Konitz's Motion, Cannonball's Julian "Cannonball" Adderley , Billy Mitchell's This is Billy Mitchell, and John Klemmer's Involvement. Quote Link to comment Share on other sites More sharing options...
Dan Gould Posted June 9, 2003 Report Share Posted June 9, 2003 I have a Japanese LP of New York Jazz, a nice one for sure. The Billy Mitchell is definitely recommended and I hadn't realized til I read it here that the Cannonball hasn't been reissued before, so that's a must-get for me. From what I've learned about Klemmer's career, it sounds like this first release has the best chance to click with me, but its definitely falling behind the others on the totem poll. I need to check the CDRs and LPs I have and make a decision whether a clean and newly digitalized copy is necessary on the Stitt and Mitchell. Quote Link to comment Share on other sites More sharing options...
Clunky Posted June 16, 2003 Report Share Posted June 16, 2003 Whats the line up on the Adderley? AMG not much help. Is this new release already part of the 2CD "sophisticated swing " collection?? Quote Link to comment Share on other sites More sharing options...
king ubu Posted June 16, 2003 Report Share Posted June 16, 2003 the link below gives you the information needed. It's one of the nonet albums, not part of the Emarcy 2CD: Verve Adderley and here you'll find more on Cannon: Cannonball Adderley ubu Quote Link to comment Share on other sites More sharing options...
king ubu Posted June 16, 2003 Report Share Posted June 16, 2003 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. CANNONBALL WILLOWS EVERGLADE CYNTHIA'S IN LOVE THE SONG IS YOU HURRICANE CONNIE PURPLE SHADES ROSE ROOM FALLEN FEATHERS YOU'D BE SO NICE TO COME HOME TO 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. *********** ubu Quote Link to comment Share on other sites More sharing options...
Stefan Wood Posted June 16, 2003 Report Share Posted June 16, 2003 I bought the Billy Mitchell, Sonny Stitt and Cannonball. Has anyone noticed that these have been remastered by the guys over at Sundazed? That might explain the increase (and cheap price) of the Verve reissues. Maybe they are following in Fantasy's footsteps....... Quote Link to comment Share on other sites More sharing options...
grey Posted June 17, 2003 Report Share Posted June 17, 2003 I picked up the Julian 'Cannonball' Adderley release last Sunday at Borders. It comes in a digipak with OBI. Both the session and the 24 Bit mastering are excellent. If you are a Cannonball fan you won't go wrong purchasing this one. Quote Link to comment Share on other sites More sharing options...
davef Posted June 17, 2003 Report Share Posted June 17, 2003 I am enjoying the Billy Mitchell one as well... nice early Bobby Hutcherson on it! If Sundazed is remastering, they are very very good! Quote Link to comment Share on other sites More sharing options...
skeith Posted June 19, 2003 Report Share Posted June 19, 2003 anyone else compared the newest "Motion" with the 3 cd set? As I said in an earlier thread, wasn't too crazy about the reverb, but other aspects were nice. Quote Link to comment Share on other sites More sharing options...
_forumlogo.png.a607ef20a6e0c299ab2aa6443aa1f32e.png)
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.