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| 4.100 Ft
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| 1. | Bright Lights, Big City
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| 2. | This Time
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| 3. | Hold It!
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| 4. | Arriving Soon [Instrumental]
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| 5. | Kidney Stew
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| 6. | Back Door Blues
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| 7. | Person to Person
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| 8. | Just a Dream
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| 9. | Audrey
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| 10. | Vinsonology [Take 2][Instrumental]
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| 11. | Cannonizing [Instrumental]
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| 12. | Bernice's Bounce [Instrumental]
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Jazz
Eddie "Cleanhead" Vinson - Sax (Alto), Vocals
Cannonball Adderley - Producer, Sax (Alto)
Joe Zawinul - Piano
Louis Hayes - Drums
Nat Adderley - Cornet
Sam Jones - Bass
* Bill Stoddard - Engineer
* Joe Tarantino - Remastering
* Orrin Keepnews - Liner Notes, Producer
* Ron Malo - Engineer
* Steve Schapiro - Photography
A plethora of "lost" recording dates have popped up since the dawn of the compact disc, especially in the jazz world. Unfortunately, most of them haven't been worth the wait and, indeed, as underwhelming as some of them have been, it might -- at least aesthetically speaking -- have been better had they not been unearthed. Happily, this isn't one of these occasions. The two sessions here were recorded in 1961 and 1962 in Chicago and New York, and feature Cannonball Adderley's quintet that included pianist Joe Zawinul, bassist Sam Jones, drummer Louis Hayes, and brother Nat on cornet. Cleanhead sings his ass off and plays some alto with Cannonball. These dates reveal an anomaly in jazz at the time: The recordings are the place on the map where jazz and R&B meet head on, bringing the full force of their respective traditions and neither giving an inch. And it works so well -- from the wild bluesy shout of Vinson in call and response with Adderley on "Bright Lights, Big City" and "Hold It!" to the shimmering dual jazz saxophones on "Arriving Soon" -- that it begs the question as to why it didn't happen more often. The soloing is top-flight, with some especially knotty work by Nat on "Person to Person" and "This Time." Cannonball is excellent throughout; the R&B and blues idioms are all meat and potatoes for him, and he feels confident settling inside the groove without the need to push the boundary. Ironically, it's Vinson who compensates in that way. And the anchor in all of this is Zawinul, leading the rhythm section, condensing both musics to their most essential harmonics and tonalities, and building them out with a swinging style and cadence that are nothing short of remarkable. These two sets may be comprised of songs and standards from the repertoire, but make no mistake, they are blowing sessions. The digital transfer by Joe Tarantino is flawless and so lifelike it's startling. Highly recommended.
---Thom Jurek, All Music Guide
Eddie "Cleanhead" Vinson
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Dec 18, 1917 in Houston, TX
Died: Jul 02, 1988 in Los Angeles, CA
Genre: Jazz
Styles: R&B, West Coast Blues, Bop, Jump Blues, New York Blues
An advanced stylist on alto saxophone who vacillated throughout his career between jump blues and jazz, bald-pated Eddie "Cleanhead" Vinson (he lost his hair early on after a botched bout with a lye-based hair-straightener) also possessed a playfully distinctive vocal delivery that stood him in good stead with blues fans.
Vinson first picked up a horn while attending high school in Houston. During the late '30s, he was a member of an incredible horn section in Milton Larkins's orchestra, sitting next to Arnett Cobb and Illinois Jacquet. After exiting Larkins' employ in 1941, Vinson picked up a few vocal tricks while on tour with bluesman Big Bill Broonzy. Vinson joined the Cootie Williams Orchestra from 1942 to 1945. His vocals on trumpeter Williams' renditions of "Cherry Red" and "Somebody's Got to Go" were in large part responsible for their wartime hit status.
Vinson struck out on his own in 1945, forming his own large band, signing with Mercury, and enjoying a double-sided smash in 1947 with his romping R&B chart-topper "Old Maid Boogie" and the song that would prove his signature number, "Kidney Stew Blues" (both songs featured Vinson's instantly identifiable vocals). A 1949-1952 stint at King Records produced only one hit, the amusing sequel "Somebody Done Stole My Cherry Red," along with the classic blues "Person to Person" (later revived by another King artist, Little Willie John).
Vinson's jazz leanings were probably heightened during 1952-1953, when his band included a young John Coltrane. Somewhere along about here, Vinson wrote two Miles Davis classics, "Tune Up" and "Four." Vinson steadfastly kept one foot in the blues camp and the other in jazz, waxing jumping R&B for Mercury (in 1954) and Bethlehem (1957), jazz for Riverside in 1961 (with Cannonball Adderley), and blues for Blues Time and ABC-BluesWay. A 1969 set for Black & Blue, cut in France with pianist Jay McShann and tenor saxophonist Hal Singer, beautifully recounted Vinson's blues shouting heyday (it's available on Delmark as Old Kidney Stew Is Fine). A much later set for Muse teamed him with the sympathetic little big-band approach of Rhode Island-based Roomful of Blues. Vinson toured the States and Europe frequently prior to his 1988 death of a heart attack.
---Bill Dahl, All Music Guide |
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