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| 1. | Rufus Still Skinned
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| 2. | Black Orpheus: Manh&
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| 3. | Work Song
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| 4. | Experience in E [The Allegro Movement]
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| 5. | Walk Tall
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| 6. | The Blooz
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| 7. | Mercy, Mercy, Mercy
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| 8. | End Title
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Jazz
Cannonball Adderley - Sax (Alto)
Joe Zawinul - Keyboards
Nat Adderley - Cornet
Roy McCurdy - Percussion
Victor Gaskin - Bass
The Cannonball Adderley Quintet was in good form during this 1969 concert in Paris. They start off with keyboardist Joe Zawinul's hard bop "Rumplestiltskin," which is inexplicably still comically mislabeled "Rufus Still Skinned" as it was on its original release in Europe. "La Manha de Carnaval," the widely recognized theme from the film Black Orpheus, features the potent blend of the leader's alto sax with brother Nat Adderley's cornet. "Work Song" remained one of the quintet's most requested numbers, and this driving gospel flavored version is a highlight of this release. "Experience in E - The Allegro Movement" is a somewhat meandering piece; it was also performed prior to this concert by the quintet with the Toronto Symphony; this William Fischer work is based on a composition by Zawinul. "The Blooz," credited jointly to Zawinul and Nat Adderley, is a throwaway blues with a forgettable vocal by Adderley. "Mercy, Mercy, Mercy," another staple of the quintet, is used to close the concert. Bassist Victor Gaskin and drummer Roy McCurdy round out the group.
---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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