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| 1. | Bohemia After Dark
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| 2. | Chasm
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| 3. | Willow Weep for Me
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| 4. | Late Entry
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| 5. | Hear Me Talkin' to Ya
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| 6. | With Apologies to Oscar
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| 7. | We'll Be Together Again
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| 8. | Caribbean Cutie [Take 1][Alternate Take][*]
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Jazz / Soul-Jazz; Hard Bop
Recorded: Jun 28-Jul 14, 1955
JULIAN "Cannonball" ADDERLEY - Alto
HORACE SILVER- Piano
NAT ADDERLEY , DONALD BYRD- Tp
PAUL CHAMBERS - Bass
KENNY CLARKE - Drums
JEROME RICHARDSON - Tenor & Flute
Kenny Clarke, veteran modernist who still out-rhythms out-solos, and out-guesses all comers in the percussion field is the pivotal point around which this album revolves . . . or, perhaps Swings, is a better word. As a great jazz musician, he is also able to recognize potential greatness in other musicians. After all, his part in laying the rhythmic foundation for modern jazz is no small one! Here, he has brought to Savoy and Ozzie Cadena (A&R chief) a group of "new" jazz stars . . . most performing for the first time on wax here! Titled after that out standing N.Y. City club that has been a prime force in the presentation of the "hard bop" East Coast (if you like terms) school of jazz, the Cafe Bohemia in Greenwich Village has been a jazzman's home away from home! (Unfortunately, the young lady gracing our cover does NOT come with the drinks at the club.) The recording date was extremely informal. From the rather large group the men organized their riffs, took turns and blew. Very few re-takes were made, because the spirited session seemed to "take off just right" and stay that way! Out of Chaos comes Beauty, they say ... and from the freedom of organization and uniformity in tight arranging has come an outstanding "blowing" session of high merit! The jazz world owes thanks to Kenny for his "discovery" for records of the brothers Adderley, who were fresh up from Florida when recorded here. Additional thanks too for the opportunity to record such stellar "youngsters" as Don Byrd, Paul Chambers, and Jerome Richardson . . . all 3 now rated among the leading lights on today's scene.
---RUDY VAN GELDER - ENGINEER
Savoy Jazz reissues are always unpredictable and this CD by Cannonball Adderley is no exception. This music has appeared on earlier CDs, including Discoveries and The Summer of '55, though the ever-changing total times for each track and mysteriously switching take-numbers make one wonder whether or not to keep earlier editions. In any case, valuable music by Cannonball and brother Nat Adderley (on cornet) is present, including a strong cover of Oscar Pettiford's "Bohemia After Dark," a barely disguised reworking of "Sweet Georgia Brown" ("With Apologies to Oscar") and the leader's catchy "Caribbean Cutie." The Adderley brothers, who were making their major league jazz debut in the studio, hit one out of the park with their potent performances. The supporting cast is a good one, with Donald Byrd, Kenny Clarke, Jerome Richardson, Paul Chambers and either Horace Silver or Hank Jones on piano. If one does not already own the double-disc set The Summer of '55, this CD can be considered essential for any bop fan.
---Ken Dryden, All Music Guide
Cannonball Adderley
Active Decades: '50s, '60s and '70s
Born: Sep 15, 1928 in Tampa, FL
Died: Aug 08, 1975 in Gary, IN
Genre: Jazz
Styles: Soul-Jazz, Hard Bop
One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound (as opposed to many of the more serious stylists of his generation) that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.
Adderley already had an established career as a high school band director in Florida when, during a 1955 visit to New York, he was persuaded to sit in with Oscar Pettiford's group at the Cafe Bohemia. His playing created such a sensation that he was soon signed to Savoy and persuaded to play jazz full-time in New York. With his younger brother, cornetist Nat, Cannonball formed a quintet that struggled until its breakup in 1957. Adderley then joined Miles Davis, forming part of his super sextet with John Coltrane and participating on such classic recordings as Milestones and Kind of Blue. Adderley's second attempt to form a quintet with his brother was much more successful for, in 1959, with pianist Bobby Timmons, he had a hit recording of "This Here." From then on, Cannonball always was able to work steadily with his band.
During its Riverside years (1959-1963), the Adderley Quintet primarily played soulful renditions of hard bop and Cannonball really excelled in the straight-ahead settings. During 1962-1963, Yusef Lateef made the group a sextet and pianist Joe Zawinul was an important new member. The collapse of Riverside resulted in Adderley signing with Capitol and his recordings became gradually more commercial. Charles Lloyd was in Lateef's place for a year (with less success) and then with his departure the group went back to being a quintet. Zawinul's 1966 composition "Mercy, Mercy, Mercy" was a huge hit for the group, Adderley started doubling on soprano, and the quintet's later recordings emphasized long melody statements, funky rhythms, and electronics. However, during his last year, Cannonball Adderley was revisiting the past a bit and on Phenix he recorded new versions of many of his earlier numbers. But before he could evolve his music any further, Cannonball Adderley died suddenly from a stroke.
---Scott Yanow, All Music Guide |
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