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| 3.700 Ft
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| 1. | Walk Tall
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| 2. | Country Preacher
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| 3. | Hummin'
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| 4. | Oh Babe
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| 5. | Umbakwen
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| 6. | Soli Tomba
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| 7. | Oiga
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| 8. | Marbi
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| 9. | The Scene
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Jazz
Cannonball Adderley ( alto sax)
Nat Adderley ( cornet)
Joe Zawinul (piano)
Walter Booker(bass)
Roy Mac Curdy (drums)
Tracks 1-4: Side one
Introduction by The Reverend Jesse Jackson
Tracks 5-9: Side two
Afro-Spanish Omlet
The Reverend Jesse Jackson gives an inspiring brief speech to open the festivities, and the Quintet begins with "Walk Tall," a lively jazz/R&B number. Named in honor of Jackson "Country Preacher" and written by keyboardist Joe Zawinul, the changing tempo tribute has two contrasting grooves: one's sad and reflective, the other happy and boisterous. The album tributes Jacksons' Operation Breadbasket program in Chicago, IL. Nat Adderley composed "Hummin'," a masterfully executed piece; the Adderley brothers' stinging solo's are complemented by Zawinul's sparkling piano play. Bassist Walter Booker shines on "Oh Babe," a vamp that owes more to blues than jazz, and Cannonball sings the bluesy lyrics like he had too much to drink. "Afro Spanish Omelet" has four parts: "Umbakwen" written by Nat finds Cannoball's sax at it's inquisitive best. Booker solos the entire 3:03 seconds of "Soli Tomba." "Oiga" is Zawinul's best solo, and drummer Roy McCurdy plays like a disturbed man surrounding Zawinul's probing electric piano with some imaginative percussioning. Cannonball displays well-trained chops on "Marabi" as he battles with brother Nat's coronet. Jesse Jackson kicks off "The Scene" while Cannoball gives thanks and group introductions over a roadhouse groove.
--- Andrew Hamilton, 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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