Cannonball, Pt.2 [CD-single] [Enhanced] [Live] [Import]

Cannonball, Pt.2 [CD-single] [Enhanced] [Live] [Import]

Track Listings

1. Cannonball [Live]

2. Amie [Live]

3. Blower's Daughter [Live]

Editorial Reviews
Product Description
Taken from the 2003 album 'O'. Three non-LP tracks, 'Cannonball', 'Amie' & 'Blower's Daughter', recorded live at Union Chapel . 14th Floor. 2004.

Tracks:

So What
Freddie Freeloader
Blue In Green
All Blues
Flamenco Sketches
Flamenco Sketches (Alternate Take)

Amazon.com essential recording

This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed

Customer Reviews:

Kind of Blue.......2007-07-12

This CD is a must for all the JAZZ lovers out there. The mood setting makes for a night of yesterdays (the good days). The sound of the horn from Miles makes you want to cling to every note and have them just lay next to your soul. It will take you into the minds eye where you will see and feel the greatness within you and yours. This is a must share CD. I mean you must share the mood with that person of rare bread of taste. This is ome CD that the five pleasure zones will be thankful.

The Pinnacle of Jazz Music.......2007-07-12

Well this is THE album to have in your music collection. Its been said many times, but if you only have one jazz album then this is the one to get. This is perhaps the most referred to document of jazz in the history of music, and it does live up to expectations.

Miles Davis was a genius, and both he and his collection of musicians were at the top of their game when they recorded this body of modal work.Timeless in appeal, perfect for background and just as interesting for the astute late night listener. 'Moody' doesn't do the album justice, and neither does any review. If you like jazz, then you simply MUST HAVE this album. If you don't like jazz then grab this out of interest, and watch how it subliminally grows on you.

I cannot recommend this album enough, it deserves more stars than I can give it. A am in reverence of this album, and it is one of the albums that I cannot do without. It will be hard pressed for you to find a bad review regarding this album, and I think that says it all.

HIGHLY RECOMMENDED!

Shades of Blue .......2007-07-08

Miles Davis always composed like a painter.....layering shades of color on a canvas, injecting a little light in the center, a bit of darker in the corner. He cops to it with "Kind of Blue", infering that the musical journey may include shades of blue, or other colors that complement. The mood might be kind of blue as well; or maybe not.

The sound waves on "Kind of Blue" play like a rainfall pattern, a rolling brook, a waterfall, many incarnartions of water free-flowing. Perhaps that is where the blue theme came in. "So What", the opener, is probably one of the most recognized jazz standards, re-produced by many artists over the years. It evokes the sight of someone looking like "The Thinker", turning around and asking " I'm deep in thought... so what?" This seamlessly moves into "Freddie Freeloader", a tune that really does depict the lovable mooch of a friend, plying you with smooth talk and subtle requests. "Blue in Green" does seem to speak to a lover, almost a feeling of sadness combined with a little self-righteous jealousy. Truly, these emotions and nuances can be heard in the melodies.

It would require much more space to describe the remaining songs, so I will leave it to the buyer to explore and interpret on their own. Suffice to say, "Kind of Blue" has attained classic status for good reasons. Music is one of the best forms of art, and when a recording achieves the task of being audio and visual, as well as emotional, there is something to touch all sensibilities. "Kind of Blue" delivers.

feeling blue..........2007-06-20

a rainy day...I pop in 'Kind of Blue'...problems with my lover I pop in 'Kind of Blue'...feeling wistful...I pop in 'Kind of Blue'...Miles Davis on trumpet..John Coltrane on tenor sax..Cannonball Adderly on alto sax..Paul Chambers on bass..Bill Evans and Wynton Kelly on piano..drummer Jimmy Cobb..compositions composed by Davis and Evans..in an attempt to move away from bepop which dominated jazz at the time this is the first full jazz album using the modal approach which is basically composing music with a series of scales using improvisation, the results are 'Kind of Blue' one of the most influential jazz albums of all time, also recognized as one of the top albums of all time.

Classic with a slight engineering problem.......2007-06-12

This album never sounded this good before with one exception. Davis's trumpet is in the center channel and ONLY in the center channel. No bleed whatever right and left. Likewise the drums are only right and the piano only left. That is not the way I hear in a live setting. This is obviously a direct conversion from the original three-track master with out-of-phase info added for the surrounds, but the recording obviously acoustically isolated each player. Still, it's minor and shouldn't prevent you from buying. SACD, if you have a good system, is the next step up in CD reproduction.

Average customer rating:

All Stars
Great laid back bop
It's Something Spectacular! Six Stars!
Silky Smooth Sounds for an Autumn Day!
"Allison Uncle" and "Rangoon"

Somethin' Else
Cannonball Adderley
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000I41J
Release Date: 1999-03-09

Tracks:

Autumn Leaves
Love For Sale
Somthin' Else
One For Daddy-o
Dancing In The Dark
Bangoon

Amazon.com

When alto saxophonist Cannonball Adderley culled together this quartet, he grabbed three champions from seemingly disparate schools to complement his flinty solos: Miles Davis, the king of cool; Art Blakey, the thundering force of hard bop; Hank Jones, a veteran of swing; and Sam Jones, a versatile bassist adaptable to nearly any setting. The results are one of Blue Note's most beloved albums. The open-ended beauty of "Autumn Leaves," which features Davis beautifully stating the melody on muted trumpet, sounds like it could easily be an outtake from Kind of Blue (which it isn't). The midtempo title track provides the centerpiece of this classic as Adderley echoes Miles's swaggering melody before both unravel wonderful solos. A must-have Blue Note album. --John Murph

Customer Reviews:

All Stars.......2007-06-24

This cd is packed with a roster of musicians that paved the way for the young lions of today. This is a cd that is full of jam sessions.

Great laid back bop.......2007-06-19

Not as energetic as my other favorite bebop pieces, but still very engaging, great solos. A *very* solid jazz album if there ever was one. Highly recommended.

It's Something Spectacular! Six Stars!.......2007-05-05

This is simply one of those amazing recordings that just about everyone can agree on labeling a CLASSIC. And if any jazz recording truly deserves this description, it's "Somethin' Else". It is my second favorite jazz album of all-time (right behind "Kind of Blue"). The way Miles and Cannonball play off of each other is truly somethin' special. It's like watching an old William Powell - Myrna Loy movie, or Michael Jordan and Scottie Pippen play basketball, two artists who seem to not only know the other like the back of their hand, but also seem to be able to feed off of one another, not so much in a competitive way, but more of a playful, venerating one. The result for us of course, is magical! This classic is a perfect example of why art is so important in today's society. I can be having the absolute worst day of my life, however as soon as I come home and turn a CD like this one on it's almost as if my troubles seem to vanish within minutes. Try to it sometime, and see if I am just throwing out b.s. hyperbole. If you are a jazz fan and this doesn't do it for you, then I don't know what to recommend besides maybe some wine or opium. It would be like a classic rock fan who doesn't like "Revolver" or "Dark Side of the Moon". You might get a few fickle jazz fans out there who prefer different cups of tea, but for the most part (as you can also see by the five-star Amazon rating) this one is a no-brainer as most jazz zealots will agree.

This album is just over 43 minutes of pure bliss. Everytime I play this one I enjoy it more than the time before. And what's really ironic is the fact that everytime I play it I think the opposite - that I am actually going to be sick of the CD by now because of the many times I've already played it. That Miles Davis sure had some kind of run during 1958 and 1959. Has anyone in the history of music (the Beatles included) contributed more in nearly a two year span than this man? Along with "Somethin' Else" and "Kind of Blue" there were also "Milestones", "Sketches of Spain", "Porgy and Bess", etc... Not too shabby to say the least.

So please, if you are new to jazz music, make this purchase right away. It's not just about Miles and Cannonball, the rest of the quintet, the outstanding rythm section - Art Blakey (drums), Sam Jones (bass), and Hank Jones (piano) - all give inspired performances. I have never heard Art Blakey so restrained, but it works to perfection on this recording and his performance was perfect for it's subtle, yet soft nature (yes, drums can actually sound serene). This one deserves to be in it's own category - 6 STAR REVIEW!

Silky Smooth Sounds for an Autumn Day!.......2006-10-04

I first acquired this album as a cassette and wore it out because I loved it so much. I'm happy to say that sound quality of the cd version is absolutely amazing and crystal clear. You'll feel like you're in the same room with these guys even though this timeless music was recorded nearly 50 years ago! As a jazz musician I know that "Autumn Leaves" has become a song the many people are frankly tired of, but this is the best version you'll ever hear. There is little doubt that Cannonball was the greatest alto sax player in jazz history, and certainly one of the most lyrical and explosive horn players in all of jazz during his lifetime. He shows his incredible range on the classic version of "Dancing in the Dark", taking his playing to unexpected heights. This is some of the most mellow and subtle playing you'll hear from Art Blakey on any record, but he is solid as ever and keeps the band moving right along. "One for Daddy-o" has a wonderful slow groove that works very well. The xtra track has also a very catchy melody. To put it bluntly, no jazz collection is complete without this cd. If I could only take 10 discs with me to a deserted island for the rest of my life this would probably be one of them!

"Allison Uncle" and "Rangoon".......2006-03-26

There are a few reissues of this absolutely great Cannonball Adderley recording. The first five cuts on all the reissues are the same 5 cuts that make up the original vinyl LP. A few of the reissued CD's have an additional sixth cut. The sixth cut was discovered by Blue Note and initially released in Japan in 1982 and given the name "Allison's Uncle" because Nat Adderley's daughter was born on the day it was recorded. Further research revealed that the mystery tune is a Hank Jones composition that the pianist recorded as "Rangoon" with the Gigi Gryce/Donald Byrd Jazz Lab quintet for a Jubilee label in August 1957. Therefore, please be advised that "Allison's Uncle" and "Rangoon" and the same exact cut, just with a different name for the same song. I got this info from the Rudy Van Gelder Edition footnotes by Bob Blumenthal. Tidbits like this are very important to me and thought it might be valuable to others as well.

Average customer rating:

Rockin Golf
Come back Pat
Ho Hum
Disappointed, where did that voice go???
Great New Pat Green CD

Cannonball
Pat Green
Manufacturer: Bna Entertainment
ProductGroup: Music
Binding: Audio CD

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Wave on Wave
Enjoy The Ride
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Long Trip Alone

ASIN: B000GRTQSY
Release Date: 2006-08-22

Tracks:

Cannonball
Way Back Texas
Love Like That
Dixie Lullaby
Feels Just Like It Should
Missing Me
Virginia Belle
Finder's Keepers
Won't Let Love
Lost Without You
I'm Trying To Find It
Love Had Something To Say
Learn How To Live
Sleeping With The Lights On

Amazon.com

With its breakout single, "Feels Like It Should"--a high-octane driving anthem in which he sings of putting "the Boss" on the radio and singing along to "Born to Run"--Pat Green leaves no doubt about this album's primary influence. The opening title track offers hard-riffing guitars over hard-driving drums in another Springsteenesque anthem of love's redemption. The rest of the album is strong and consistent enough that it could well catapult Green to the sort of nationwide popularity with both country and rock fans that he enjoys in his native Texas, where what started as a grass-roots following among the college crowd has turned him into an act capable of filling stadiums. Whereas his material once extolled the joys of living in Texas and drinking beer, he now displays a lot more range and maturity, with the heartfelt balladry of "Dixie Lullaby" eulogizing his father and a duet with Sara Evans on "Finder's Keeper" reinforcing his country credentials. Producer Don Gehman worked with John Mellencamp on many of his biggest hits, with the combination of Stonesy guitar and country fiddle on "Won't Let Love" evoking that artist's musical progression. What Springsteen is to New Jersey and Mellencamp is to Indiana, Green could become to Texas. --Don McLeese

Customer Reviews:

Rockin Golf.......2007-02-22

Heard this on the golf channel. What a great Pop/Country song. Good for the car!!!

Come back Pat.......2007-01-27

I have all his CD's and once was a good friend of Pat's before he got real big. I lost touch with him and Brendon Anthony(who was a friend of mine at Texas A&M) since he's gone new Pat. I like some of these songs but feel like he's trying to hard to impress nashville. I not saying he has to sing about drinking beer all the time but at least stick to what got you here alittle. I remember seeing Pat Green play and only about 20 people in the joint. He played back then with fire and this amazing energy that I have never seen. I still support Pat and he's still one of my Favorite guys to listen to but I keep hoping the old Pat will come back.

Ho Hum.......2007-01-23

Am I red in the face because I got sucked into buying this CD. Starting with Wave on Wave I thought Pat's anchor had come loose and he was starting to drift.
I don't expect college drinking songs on every cut...wouldn't like it if they were. But, if I want commercial shrink wrap I go with Toby Keith.
Take a lesson from Jimmy Buffett, Pat. Sing what YOU know is right for you, not what some sleazy Nashville promoter is feeding to you.
Think I'll pass on the next CD from Green. He's gonna have to prove himself to me again. Money's too hard to come by to waste it on this drivel.

Disappointed, where did that voice go???.......2007-01-18

I own every single pat green album... when lucky ones came out, meh it was all right... had a few songs on it that were still Pat...

This time around? Sounds like he's not there. That strong voice that we all love from his first few albums is just not found on this album. I haven't been able to get into this album as I have the rest. It just seems wrong. The voice is weak, as if his soul has disappeared... I can't even comment on the content as listening to it is almost painful when you think of what we should be hearing. Check out Three Days or Dancehall dreamer, or even wave on wave, for a taste of what Pat should be sounding like.

PLEASE, Pat, come back to us!

Great New Pat Green CD.......2007-01-05

This CD is more commercial than his earlier ones and includes a bunch of new songs. Most of his earlier CDs seemed to include some of the same songs.

Average customer rating:

Brilliant
Good fun
One of my best cds
Serious fun
Mercy, Mercy, Mercy

Mercy, Mercy, Mercy! Live at 'The Club'
Cannonball Adderley Quintet
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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Somethin' Else
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ASIN: B000005GY5
Release Date: 1995-07-03

Tracks:

Fun
Games
Mercy, Mercy, Mercy
Sticks
Hippodelphia
Sack O' Woe

Amazon.com

"Live at 'The Club'" boasts the cover of this 1966 album. Of course, this turned out to be a lie, as did the entirety of the original liner notes. Mercy, Mercy, Mercy was not recorded at that Chicago venue, but instead at Capitol Studios in Los Angeles. (The ruse was a favor to the club owner.) The hollering audience was comprised of invited guests and stimulated by free booze. Still, their enthusiasm is definitely well warranted, as alto man Cannonball Adderley and his band offer a riveting blend of postbop calisthenics and soul-jazz grooves. Joe Zawinul's famous title track, with its hypnotic, gospel-drenched funkiness, was a crossover top 10 pop hit, as well as an astonishing exercise in restraint for Zawinul, who somehow resists the urge to dig in on his electric piano, instead opting for a deep, mellow mood. The rest of the album cooks, with Cannonball, brother Nat on cornet, and Zawinul supplying the heat. --Marc Greilsamer

Album Description

Cannonball Adderley Quintet: Cannonball Adderley (alto saxophone), Nat Adderley (cornet), Joe Zawinul (piano), Victor Gaskin (bass), Roy McCurdy (drums).

Customer Reviews:

Brilliant.......2007-02-17

I Remember Bird, Leonard Feather's tribute to Charlie Parker, is one of my all time favorite jazz pieces. Cannonball and his brother Nate play it superbly. It's an unforgettable performance.

Good fun.......2006-06-04

Performed in front of a studio crowd plyed with free drinks, Cannonball and company (Nat, Joe Zawinul, Victor Gaskin & Roy McCurdy) play six funky songs. First Cannonball speaks to the crowd, then the band gets in the groove. The groove is a strength and weakness of the album, with the exception of the title track, the songs don't stand out very strongly from each other. The title track has the most interesting songwriting, though the fact that it was a crossover hit surprises me. It's very good, though. The playing is all top-notch, too.

One of my best cds.......2005-12-30

The title track "Mercy, Mercy, Mercy," alone, is enough reason to buy this album. This recording captures the electricity of this particular show to the extent that the listener may at points truly get a feeling like they're sitting in the room with the band.

Serious fun.......2005-06-30

This is hard bop at its essence. It's funky, fun, exciting, and most of all it's emotionally-charged. I tend to find myself driving to it a lot.

Although the first two tracks are titled "Fun" and "Games," there's a slightly dark edge to some of the soloing here, a bit of that mystery that makes the music of Miles Davis so compelling and captivating. Perhaps that's what makes this music so exciting. It's frequently on the edge of chaos, but never quite tips over into "free" jazz.

Zawinul really takes the spotlight on the title track, with a great spoken intro by Cannonball. This track is pure soul-drenched simplicity. Genius. Let this album be the light that guides you into jazz.

Mercy, Mercy, Mercy.......2004-08-23

Let me just tell you, this is about as exciting as it gets! The recording actually feels like it took place at a famous jazz club on a summer night, but as everyone knows by now, this wasn't so, and it was recorded in Capitol studios. This album finds the quintet at the top of its game, this time featuring Cannonball, his brother Nat on cornet, the spectacular Joe Zawinul on piano, Victor Gaskin on bass, and Roy McCurdy on drums. Of the six exciting numbers, I'd have to say that "Games" is my favorite, another great example of how amazingly underrated Nat was as a composer. The title track has this after-hours mood that you won't be able to find anywhere else. Whenever you're down about something, just put on that track, and I guarantee it will help you deal with whatever your problem is. You can't possibly call yourself a jazz or Cannonball fan and not own this magnificent album, so order it now!

Average customer rating:

Great recording!
This Is Classic Material
The Always Sublime Nancy Wilson
a whole new world i didnt know..
Diamond in the Ruff

Nancy Wilson & Cannonball Adderley
Nancy Wilson w , and Cannonball Adderley
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005HBG
Release Date: 1993-02-09

Tracks:

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Never Will I Marry
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Unit 7

Customer Reviews:

Great recording!.......2007-05-31

Nancy Wilson has been my favorite singer for years. Cannonball and his quintet with brother Nat are my jazz heroes. You mix them and....yes! Pure delight!

This Is Classic Material.......2007-04-09

I must agree with the comments made by other reviewers. This album is great. Nancy Wilson's voice on this album is unlike anything I have ever heard. You can't honestly say you're a fan of jazz if you don't own this.

The Always Sublime Nancy Wilson.......2007-04-09

Nancy Wilson is pure class. Just listening to her simply puts a smile on my face and listening to this cd is no exception. The standout songs are: Save Your Love for Me, Happy Talk and Never Will I Marry. Ms. Wilson's vocals simply luminates!

a whole new world i didnt know.. .......2007-01-10

this cd is very laid back, this is the cd you put on when you want to hear some good jazz by the smooth vocals of nancy afew songs and the playing of cannonball adderly.. very nice... take a listen.. u will see...

Diamond in the Ruff.......2006-11-08

Nancy Wilson's best set on record.The combination of Cannonball,Nat,and the inspiring rhythm section including the exquisite playing of Joe Zawinul along with Sam Jones on bass and Louis Hayes on drums makes for an historical performance.The band remains consistently inspired throughout.Pure passion and emotion shoot out at you with a heart-felt rendition of ' The Masquerade is Over',Teaneck,Never will I marry' and Unit 7 to name a few, with excellent solos by Cannonball,Joe, and Nat and the sparkling swing of Louis Hayes brings it all together.This is a must for your collection. Enjoy.

Average customer rating:

Cannonball's best hard bop..
Them Dirty Blues
Cannonball in his element
Cannonball scores a direct hit!
Cannonball's best all around album

Them Dirty Blues
Cannonball Adderley
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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Cannonball Takes Charge

ASIN: B00004T2RG
Release Date: 2000-06-06

Tracks:

Work Song
Jeannine
Easy Living
Them Dirty Blues
Dat Dere
Del Sasser
Soon
Work Song (Alternate Version)
Dat Dere (Alternate Take)

Amazon.com

It goes without saying that Julian "Cannonball" Adderley was one of the best blues players in jazz. Just ask his ex-boss Miles Davis. This 1960 date features the musician with his brother, cornetist Nat, bassist Sam Jones, drummer Louis Hayes, and either Bobby Timmons or Barry Harris on piano. Simply put, this is a textbook on how to swing the blues, whether on ballads such as "Easy Living" and George Gershwin's "Soon," or on the dancing hard bop number, "Work Song," Timmons's gospel-tinged "Dat Dere" and Duke Pearson's melodic classic, "Jeannine." Cannonball's sax lines combine the best of Benny Carter and Charlie Parker, contrasted by his brother's in-the-pocket cornet solos. The title track reveals the down-home roots of this Florida-born musician, who always carried the South in him. --Eugene Holley Jr.

Customer Reviews:

Cannonball's best hard bop.........2005-09-20

This is cannonball's best hard bop album slightly edging out his riverside debut "portrait of cannonball" which featured blue mitchell on trumpet. Here it is cannonball's brother nat in his typical place in the band at cornet and playing extremly well as usual. The album starts out with a snappy version of nat's "work song" with 6 other blues drenched songs. An exellent version of Bobby timmons classic "dat dere" and the superb title song. This is cannonball at his best with a solid support cast top to bottom. Important for all hard bop fans to own this one.

The only negative is the sound quality that is mediocre on some tunes. The master recording was done with riverside and then picked up by columbia when riverside folded. Song number 6 was actually dubbed from an LP which doesn't give you the best sound quality.

Them Dirty Blues.......2004-08-09

Cannonball's exciting quintet is presented here on their second album, their first recorded in a studio. The quintet (Cannonball on alto sax, his brother Nat on cornet, either Bobby Timmons or Barry Harris on piano, Sam Jones on bass, and Louis Hayes on drums) is superbly presented here on great hard bop originals, a blues written by Cannonball, two standards, and a great piece by Duke Pearson called "Jeannine". "Work Song", by Nat, presents Cannonball in his usual swingin' self. Be warned it's one of those melodies that gets stuck in your head for awhile. The alternate take is a welcome addition and it is interesting to compare it from the master. Other originals presented on the album are the title blues, Bobby Timmons's "Dat Dere" (which is my personal favorite on the album and is also presented with an alternate take), and Sam Jones's "Del Sasser". These all present the band in their usual, cookin' state and "Work Song","Dat Dere", and "Del Sasser" are tunes that stayed in the quintet's repitoire for most of its existence. The two standards are "Easy Living", a ballad, and "Soon", a George Gershwin tune. "Jeannine" is a flowing melody that you will most likely find yourself humming at unexpected moments. The entire album highlights the wonderful solo techniques of the Adderley brothers, as well as both of the awesome pianists that are featured. Overall, the album finds the quintet in top form and is an essential for anybody that is a fan of Adderley.

Cannonball in his element.......2004-07-07

Cannonball could play bebop, he could play modal, he could play with strings, he could play anything anyone threw at him. But where he was truly the best, where he was absolutely THE BEST was when playing the blues, and dirty ones at that. As Bill Kirchner (jazz critic) calls it: "sophisticated gutbucket." This album shows Cannonball with his best passionate, hard-swinging soloes, especially on both versions of Work Song, the title track, and Jeanine. Nat's more restrained cornet soloes are a perfect counterweight, and Louis Hayes, Sam Jones, and either Barry Harris or Bobby Timmons (Timmons being my personal preference) in the rhythm section make this a very tight band. Everything is good, except for Cannonball, who is superb. So very soulful.

One good bonus of this cd is that you have 2 versions of Work Song, the first being an up-tempo funk version, and the second a more medium-tempo hard bop version. I actaully prefer the hard bop version, but it's great to hear them both. This is highly recommended.

Cannonball scores a direct hit!.......2003-08-25

Cannonball Adderley is one of those rare jazz musicians who immediately grabs ahold of your attention with his superior technique and supremely rich imagination. When you combine those traits with the fact he manages to convey a genuine sense of joy in his music, you have one of the greatest jazz musicians of all time. Based in the language of Charlie Parker, but possessing his own indivduality, this former teacher's powers are on full display throughout this recording. A Capitol re-release of a Riverside lp from 1960, Adderley is backed by his brother Nat on cornet, Louis Hayes on drums, the propulsive Sam Jones on bass, sharing the piano chair are Barry Harris (tracks 1-4) and Bobby Timmons (tracks 5-9). While Nat, Harris, and Timmons all provide high points, it is truly Adderley who is on display, ranging from simmering to a rolling boil his solos here are some of his best on record. A superior blues player, his infectious enthusiasm propels Adderley and company through some of the funkiest tracks this side of Horace Silver. There are no throw away tracks on this cd, but Nat Adderley's Work Song, Timmons' Dat Dere, and Cannonball's own Them Dirty Blues are standouts. This is one of Cannonball's best sessions as a leader, and is easily recommended, just buy it and find out for yourself!

Cannonball's best all around album.......2003-08-14

This Adderly album is one of the best for a couple reasons. The arrangements are stunning and some are the catchiest swingin' blues taks youll ever hear,every song is a great. And the solos produced by Cannonball, Nat and Sam Jones are spectacular and the best solo's you'll ever hear. This is the essential Cannonball quintet album. and no matter what jazz artist or album I am listening to, I always come back to this one because it is so good. If you are starting or have a collection, this is the one quintet album you should own

Average customer rating:

Necessary addition to any Jazz collection
Bossa Nova lovers... or for that matter... anyone interested in Jazz... Get This Album!!!!!
A nice surprise
Cannonball's Bossa Nova -corrected
Cannonball's Bossa

Cannonball's Bossa Nova
Julian "Cannonball" Adderley With The Bossa Rio Sextet Of Brazil
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000046Q2G
Release Date: 2000-01-25

Tracks:

Clouds
Minha Saudades
Corcovado
Batida Diferentes
Joyce's Sambas
Groovy Sambas
O Amor Em Paz (Once I Loved)
Samops
Corcovado (Alternate Take)
Clouds (Single Version)

Amazon.com

Florida-born alto saxophonist Julian Cannonball Adderley distinguished himself as a member of Miles Davis's groups (he's the sultry alto on Kind of Blue) and with the hard-bop ensembles he co-led with his cornet-playing brother Nat. This recording, produced by Orrin Keepnews in 1963 for the Riverside label, features Adderley performing bossa nova-based compositions. Anchored by Brazilian composer and pianist Sergio Mendes's band (with alto saxophonist Paulo Moura), Adderley's singing sax lines float over the sunny Rio rhythms, owing more to Benny Carter than Charlie Parker. The renditions of Antonio Carlos Jobim's standards "Corcovado" and "Once I Loved" and Joao Donato's "Minha Saudades" are comparable to Stan Getz's Legendary records from the same period, showing anew that jazz and South American music have learned much from each other. --Eugene Holley Jr.

Album Description

This 1962 project marked the American recording debut of Brazilian masters Sergio Mendes and Dom Um Romao in a program of great jazz-inflected sambas by Antonio Carlos Jobim, Joao Donato and others. Includes two alternate takes.

Customer Reviews:

Necessary addition to any Jazz collection.......2007-05-01

Marcelo Maciel has summed up all the details below, and this album really fits in very well with any general music collection. I actually like this Brazilian album more than any other of Cannonball Adderley's I've heard, and thankfully it ages like good wine and just gets better with time. Be sure not to get the 2006 Limited Edition for $23.99 though, the extra 14 dollars only ensures that you don't get the 2 bonus tracks (the alternate take of Corcovado and the single version of clouds). I can't see many copies of that one being sold.

Bossa Nova lovers... or for that matter... anyone interested in Jazz... Get This Album!!!!!.......2006-03-03

This is quintessential Bossa Nova... and the best thing is that I'm learning so much just reading the other reviews here.... I love Bossa Nova... it's my favorite Latin music and my favorite Jazz music....

A nice surprise.......2003-05-03

I've always been a fan of Cannonball's standard jazz work (esp. with Miles Davis), so I was delighted to hear about this CD. I'm also a fan of Sergio Mendes who plays piano on this CD. The first cut is very carefree and makes me feel as if I'm walking along the sandy beaches of Brazil. A wonderful intro to Sergio Mendes. It's a good buy.

Cannonball's Bossa Nova -corrected.......2001-12-28

The Jazz-Samba genre, very expressive in the 60's, was inauurated, in Brazil, by Meirelles and the Copa 5 group, in the famous record with Luiz Carlos Vinhas and Pedro Paulo (piano and trumpet). In United States, the genre came in 1962 with Stan Getz and Charlie Byrd with the excellent "Jazz Samba", in which some brazilian music's pearls are explored with the sophistication of the guitar-tenor saxophone combination. The Getz's soft tone sound and the Byrd's complex and melodic improvisations contributed to this. It is irrefutable that the peak of this brazilian music fashion in USA came in 1963, with "Getz/Gilberto", in which the samba's broken rithmys, that was a non-solved problem in Jazz Samba, are well managed by Milton Banana.
Following this line, "Cannonball's Bossa Nova" record brings a experienced drummer, Dom Um Romão, who also is present in the Sinatra/ Tom Jobim record. This secure rhytmic support is noticed too in the Durval Ferreira's accompaniment, simple and, so, beatiful. With Sergio Mendes, about his short solos, we have a paralell in the minimalistic improvisation of Jobim. This cool touch it's well perceived in Jobim's solos in the music "O Grande Amor" (Getz/Gilberto) and in the record "The Composer of Desafinado Plays" (1963), in which, almost always, only the right hand is used. Cannonball, a high quality saxophonist, complete the group. His perfect technique allows the full exploration of his musical ideas. His extrem softness and potent sonority (remembers Getz sometimes) and his bebop/bluesy musical speech, Charlie Parker's heritage, are perfect not to a bossa nova record, but for a jazz/bossa approach.
The entire record gets a fine taste, but "Amor em Paz (Once I Loved)", lovely Jobim's melody, shows the great artist who is Cannonball Adderley. Not in his "soul music" incursions, but in his great and pungent lyrical sense that he gives to the ballads ("Stars Fell in Alabama", in the "C.A Quintet in Chicago", 1959, is my preferred). It is almost irresistible to compare Corcovado (Quiet Nights) in this record with Getz/Gilberto record, but both are great, each one with his qualities. For the jazz lovers and for the brazilian music lovers this record is, farther indispensable, a great joy, a great example of good music, a... so, listen it!!! ASAP!!!

Cannonball's Bossa.......2001-12-28

The Jazz-Samba genre, very expressive in the 60's, was inauurated, in Brazil, by Meirelles and the Copa 5 group, in the famous record with Luiz Carlos Vinhas and Pedro Paulo (piano and trumpet). In United States, the genre came in 1962 with Stan Getz and Charlie Byrd with the excellent "Jazz Samba", in wich some brazilian music's pearls are explored with the sophistication of the guitar-tenor saxophone combination. The Getz's soft tone sound and the Byrd's complex and melodic improvisations contributed to this. It is irrefutable that the peak of this brazilian music fashion in USA came in 1963, with "Getz/Gilberto", in wich the samba's broken rithmys, that was a non-solved problem in Jazz Samba, are well managed by Milton Banana.
Following this line, "Cannonball's Bossa Nova" record brings a experienced drummer, Dom Um Romão, who also is present in the Sinatra/ Tom Jobim record. This secure rhytmic support is noticed too in the Durval Ferreira's accompaniment, simple and, so, beatiful. With Sergio Mendes, about his short solos, we have a paralell in the minimalistic improvisation of Jobim. This cool touch it's well perceived in Jobim's solos in the music "O Grande Amor" (Getz/Gilberto) and in the record "The Composer of Desafinado Plays" (1963), in which, almost always, only the right hand is used. Cannonball, a high quality saxophonist, complete the group. His perfect technique allows the full exploration of his musical ideas. His extrem softness and potent sonority (remembers Getz sometimes) and his bebop/bluesy musical speech, Charlie Parker's heritage, are perfect not to a bossa nova record, but for a jazz/bossa approach.
The entire record gets a fine taste, but "Amor em Paz (Once I Loved)", lovely Jobim's melody, shows the great artist who is Cannonball Adderley. Not in his "soul music" incursions, but in his great and pungent lyrical sense that he gives to the ballads ("Stars Fell in Alabama", in the "C.A Quintet in Chicago", 1959, is my preferred). It is almost irresistible to compare Corcovado (Quiet Nights) in this record with Getz/Gilberto record, but both are great, each one with his qualities. For the jazz lovers and for the brazilian music lovers this record is, farther indispensable, a great joy, a great example of good music, a... so, listen to it!!! ASAP!!!

Average customer rating:

A Classic Combination!
Know What I Mean?
We Know What You Mean!
Moody Beauty
Beautiful, Swinging, Timeless

Know What I Mean?
Cannonball Adderley , and Bill Evans
Manufacturer: Ojc
ProductGroup: Music
Binding: Audio CD

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ASIN: B000000Y68
Release Date: 1990-10-25

Tracks:

Waltz For Debby
Goodbye
Who Cares? (Take 5)
Who Cares? (Take 4)
Venice
Toy
Elsa
Nancy (With The Laughing Face)
Know What I Mean? (Re-Take 7)
Know What I Mean? (Take 12)

Amazon.com

Alto saxist Cannonball Adderly and pianist Bill Evans, bandmates on Miles Davis's epochal Kind of Blue, were band leaders by the time they teamed up in 1961 for this moody, yet lyrical, date. Though remastered with state-of-the-art digital technology, Riverside has kept the original artwork and liner notes, maintaining the flavor of this classic jazz LP. Adderly's robust, bluesy tone and buoyant phrasing make for an interesting contrast to Evans's rainy-day introspection. Coupled with the light touch of drummer Connie Kay and the gentle probing of bassist Percy Heath, the music projects a sophisticated and relaxed mood. On the sensitive ballads, such as "Goodbye" and "Elsa," Adderly reveals his after-hours side, reveling in the fullness of his rich sound. --Wally Shoup

Customer Reviews:

A Classic Combination!.......2006-09-07

No jazz collection is complete without this remarkable album featuring two of the greatest jazz musicians of all time. If you liked "Kind of Blue" with Bill Evans and Cannonball, you will also enjoy the soaring and sensual sounds on this cd. It begins with a gorgeous piano introduction by Bill Evans on one of his best original compositions, "Waltz for Debby". "Venice" is equally memorable, and the version of "Nancy" is tinged with a bit of sadness that will leave you breathless. Connie Kay was certainly one of the most creative drummers out there during the 50s and 60s, and his performance on "Toy" is really fun to listen to. A true must-have disc!

Know What I Mean?.......2005-04-04

Cannonball's studio meeting with piano giant and fellow Miles Davis band mate, Bill Evans, remains to be one of the most popular albums in both of their vast recorded outputs. This is definitely for good reason since the two fit together perfectly on these sides. It's very interesting to contrast Cannonball's playing here with his many quintet albums of the same period. Since he is the only horn, you really get to hear him stretch out here in a very similar way to how he stretched out on "Cannonball Takes Charge" (see my review), another essential Adderley album. The selections of this album are perfect for these two men. The album is comprised of two Evans originals (the now standard "Waltz for Debby" and the modal title track), two exceptional ballads that weren't done too much at the time ("Goodbye" and the fantastic "Nancy (With the Laughing Face"), and a bunch of other tunes that the ensemble seem to be having a fun time with ("Who Cares?", "Venice", the very playful and aptly titled "Toy",and "Elsa"). Every single track shows off everyone present greatly, especially Julian and Bill who are definitely stimulated by the other man's prescence. All and all, this is an absolutely essential album if you're a fan of either Adderley or Evans, or if you just love great jazz sessions!

We Know What You Mean!.......2004-08-30

When jazz greats get together great music is not always the result. It is here! It's always a treat to hear alto saxophonist Cannonball Adderley in a quartet setting. Not that I don't love the recordings he made with brother Nat, but it's nice to hear him stretch out as the solo horn. In the company of the ebullient Adderley Bill Evans' piano work is less introspective than we are used to. This is not a criticism! I love his intense piano explorations, but it's fun to hear him.....well, having fun! Half of the Modern Jazz Quartet (bassist Percy Heath and drummer Connie Kay) anchor the rhythm down solid. "Know What I Mean?"

Moody Beauty.......2004-07-05

Great line up - Bill Evans on piano, caught just after his rapid rise within the jazz world. Percy Heath and Connie Kay on bass and drums, together comprising one-half of the legendary Modern Jazz Quartet, masters of chamber jazz. And of course the great Cannonball Adderley, a saxophonist often slighted by those in the know, yet as gifted a player as any in modern jazz, fully confident in any setting, from honking the blues to the subdued melancholy of 'Kind of Blue.' Given the line-up, it's no surprise this album sounds more like 'Kind of Blue' than 'Mercy Mercy Mercy'. In fact, sometimes it's a little too moody and quiet - you want the quartet to let some fire out. But that obviously wasn't the idea behind the session (or sessions - as the liner notes point out, the album was cobbled together from three separate sessions due to scheduling conflicts). But it's a fine album. Cannonball's loving touch with 'Waltz for Debby' is only one of its many charms.

Beautiful, Swinging, Timeless.......2003-12-13

This is truly one of the great jazz albums of all time. Surprisingly, Evans' introspective style and Cannonball's soulful approach meld together perfectly. Perhaps this is testament to just how hugely talented these men are. Both The technical skill and pure musicmanship displayed on this record is just amazing. I've owned this CD for over 10 years now and still find so much to listen to in these recordings. Highlights are the amazing "Waltz For Debby" and Earl Zindars' waltz "Elsa", easily one of the most beautiful songs ever written, in my opinion. You simply cannot go wrong with this CD.

Average customer rating:

Rolling Stones Virtuoso Shines on this Solo Disc
Great guitarist
a littlegem
interesting problem:
Mick's Best Years Ended in 1974....

A Stone's Throw
Mick Taylor
Manufacturer: Cannonball Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004L8AF
Release Date: 2000-02-08

Tracks:

Secret Affair
Twisted Sister
Never Fall in Love Again
Losing My Faith
Morning Comes
Lost in the Desert
Blues in the Morning
Late at Night
Here Comes the Rain
Blin Willie McTell

Album Description

1998 solo album by the former Rolling Stones' guitarist. 10 new cuts, all recorded in California in 1998. Stylistically,it fuses R&B, jazz and classic blues with Latin tempos and rock. Backing Taylor throughout are keyboardist Max Middleton and bassist Michael Bailey. A Sensible Records release.

Album Details

His Latest Solo Album 'a Stone's Throw' is a CD of Many Moods with Mick's Natural Singing Ability and Wonderful Guitar Playing as the Central Thread. Anyone Not Familiar with his Transition from Guitarist to Singer/Songwriter and Expecting a Re-run of Stones Hits May Be Disappointed but Genuine Fans who have Followed his Musical Evolution Will Not.

Customer Reviews:

Rolling Stones Virtuoso Shines on this Solo Disc.......2007-03-10

Mick Taylor gave so much to the Rolling Stones when he was with them. Some of their most beautiful, layered music happened when he was in the band, including perhaps their greatest guitar solo track, "Time Waits for No One" on 'It's Only Rock and Roll'. Though I love all the Stones' stuff, there is something extra in the Mick Taylor years. Whereas after he left, the Stones developed a lean sound, with Keith Richards and Ronnie Wood practicing the ancient art of weaving, Mick Taylor did his own bluesy riffs on top of Richards. At times, it borders on symphonic.

On this solo album, Taylor has put together a solid cadre of rock and blues musicians and produced a beautiful work that can be listened to over and over. I have only had it a few days and have already listened to it three times. There really is not a weak track on the album, which leans towards a rock/blues sound that highlights Mick's blues guitar skills. It proves to anyone who has listend to the Stones from the Taylor years that Taylor wrote a few songs that ended up being credited to the Glimmer Twins instead. Eight of the ten songs are written by Taylor himself, demonstrating his wide-ranging abilities in the songwriter department. Too bad he never got the credit (or royalties) he deserved from his contributions in the Stones.

It's the kind of album you can listen to any time. And I disagree with some reviewers about Taylor's voice. It's not great, but it's got that smoky, rough sound that works with the blues, comparable to Clapton's. It works with the material.

Recommended very highly. Kind of hard to find, but worth the search.
Five Stars.

Great guitarist.......2006-10-20

I love listening to Mick Taylor. I only wish he was more prolific. To hear how great he really is, listen to Blind Willie McTell. It may never leave your player.

a littlegem .......2005-08-04

this low key, relaxed album is a pleasant journey through a variety of guitar styles: from slide guitar to wah-wah to overdriven power blues. the songs are well crafted and noticeably different from each other. 8 of the 10 songs were written or co-written by Taylor, and I recommend the first 2 cuts, " Secret Affair" and "Twisted Sister" as well as the quirky "Lost in the Desert". his singing style is adequate, and reminded me of Clapton . but the guitar work is extraordinary. the net result is a little gem of a album that will please any blues fan

interesting problem:.......2004-10-19

When the singing and lead guitar are by two different people, sometime the guitar fills start to soon and end too late, interfering with the vocals. This never happens when the same guy is doing both; BB King, Albert King, and so on, never step on their own toes. With the advantage of being able to read their own minds, such bluesmen are always in perfect sync. Why then, does Taylor seem to be getting in his own way?

Mick's Best Years Ended in 1974...........2002-03-19

Musically, and inspirationally, this album is very, very weak. It has no drive or ambition at all. Even the guitar playing is marginal. And I like Mick Taylor. At least pre-1975 Mick. I had a lot of hope for this CD, but was very dissappointed upon first hearing it (and with subsequent listenings). The worst part are the vocals. Horrible. Why Mick insists on doing the vocals is beyond me. Friends should give him some honest feedback on that. On the larger side, maybe Mick really does need some help with production or some good old Keithian riffological guidance to bring out his best? Sorry Mick....

Cannonball Adderley Quintet in San Francisco

Average customer rating:

The horn of plenty: Cannonball's most cornucopian year.

Cannonball Adderley Quintet in San Francisco
Cannonball Adderley
Manufacturer: Riverside
ProductGroup: Music
Binding: Audio CD

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ASIN: B000NJL05C
Release Date: 2007-03-27

Tracks:

(A Few Words by Cannonball... And) This Here
Spontaneous Combustion
Hi-Fly
You Got It!
Bohemia After Dark (aka Birdland After Dark)
Straight, No Chaser [*]
This Here [Alternate Take][#][*]
You Got It! [Alternate Take][#][*]

Customer Reviews:

The horn of plenty: Cannonball's most cornucopian year........2007-06-13

In the late '50s and early '60s, Cannonball Adderley enjoyed his greatest popularity as measured by the commercial success of Riverside releases featuring his own group with his brother Nat on cornet. The sessions were frequently recorded live, included spoken introductions by the ebullient leader, presented some "accessible" tunes, and spotlighted at least one real crowd-pleaser ("This Here," "Sack O' Woe," "Jive Samba," "Mercy Mercy, Mercy"), each later appearing as a hit single.

These sessions are memorable less for the individual solos than the fire of the ensemble, anchored and propelled by one of the best walking bass players in the business, Sam Jones. Returning to these once-popular Adderley brothers releases is to lament the absence of such ensembles on today's scene as well as to be reminded of the relatively hard times the alto giant (and many great players) would encounter in the late '60s/early '70s, when he had trouble booking the group (I recall Cannonball auditioning for clueless Student Activities Directors shopping for next year's campus entertainment). Regardless, any of these Adderley brothers' Riversides represents the so-called "hard bop-soul jazz" idiom at its best and, like the groups of Art Blakey and Horace Silver, should be required listening for the ensemble sound alone.

"In San Francisco" from 1959 not only established the "live action/hit single" formula but is, in its own right, an exemplary session, perhaps superior to the later Adderley brothers' recordings with pianist Victor Feldman or Joe Zawinul and tenorist/flutist Yusef Lateef. The presence of the hard-swinging Bobby Timmons certainly increased the funk and soul appeal of this Adderley edition (though some of the earlier editions of Adderley brothers' groups on Mercury and EmArcy are also worth checking out).

The leader is in especially high spirits, confiding to the crowd that Timmons' "This Here" is known in the community as "Dish heah," and putting it in the context of church music before unleashing the composer on the infectious down-home introduction of the blues/gospel/jazz waltz. The remainder of the program consists of two bristling Adderley originals and three jazz standards that, while still in the repertoires of countless musicians, are played to perfection: Randy Weston's "Hi Fly," Oscar Pettiford's "Bohemia After Dark," and Monk's "Straight, No Chaser."

If hearing the leader's typically exuberant, lusty playing on this night isn't enough to convince you that 1959 was arguably Adderley's best year (if not for jazz itself), then add to this recording three more from the same year, all featuring the indomitable altoist's juicy tone and joyous preaching: first, a brilliant, albeit neglected or underrated, Riverside quartet date entitled "Cannonball Takes Charge"; 2nd, a Mercury quintet date with Coltrane, "Cannonball Adderley Quintet in Chicago"; finally, a certain sextet date on Columbia (and perennial Amazon best-seller) on which Adderley, along with Coltrane, Miles Davis, and Bill Evans formed the "response" team to bassist Paul Chambers' introductory musical question, "So What?"--a call still sending out shock waves of seismic proportions almost half a century later. (If you don't have Miles' "Kind of Blue," pick it up before "In San Francisco.")

Music Review:

Music Review

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