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| 1. | Fiddler on the Roof
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| 2. | To Life
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| 3. | Sabbath Prayer
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| 4. | Chavalah
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| 5. | Sewing Machine
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| 6. | Now I Have Everything
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| 7. | Do You Love Me?
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| 8. | Matchmaker, Matchmaker
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| 9. | Sweet Georgia Bright [*]
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| 10. | Island Blues [*]
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| 11. | Little Boy With the Sad Eyes [*]
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| 12. | Goodbye Charlie [*]
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Jazz
Cannonball Adderley - Sax (Alto)
Charles Lloyd - Flute, Sax (Tenor)
Joe Zawinul - Piano
Louis Hayes - Drums
Nat Adderley - Cornet, Trumpet
Sam Jones - Bass
Fiddler on the Roof is (1) the longest-running, most-beloved musical in Broadway history, (2) a smash motion picture directed by Norman Jewison and starring the Israeli-actor Topol, and (3) now an exceptional-if surprising -jazz vehicle for Cannonball Adderley.
Not surprisingly, the unpredictable Cannon performs the warm, uplifting Sheldon Harnick-Jerry Bock score with style and sentiment, and a lot of help from his extremely talented friends-namely, Nat Adderley, Charles Lloyd, Joe Zawinul, Sam Jones and Louis Hayes.
It is rather improper to single out certain tracks and solo performances for special praise. Instead, the entire album should be enjoyed-as an exciting marriage of superb material, fragrant mood and riveting artistry.
Titles of three selections in this package do, however, require explanation.Fiddler on the Roof in the show itself is also called Tradition. The Bolero-tempered Chavalah is strictly a dance sequence in the show, and does not appear in the original cast recording. Cannon, however, found it perfect in the context of this recording. Sewing Machine was deleted prior to the Broadway opening, but Cannon liked it so much he felt that it too should be included on this date.
* Bobby Arnold - Engineer
* Burton Yount - Reissue Design
* David Axelrod - Producer
* Donald Elfman - Liner Notes
* Michael Cuscuna - Reissue Producer
* Peter Abbott - Engineer
* Ron McMaster - Engineer
It is a bit strange that none of the eight songs performed on this LP found their way into Adderley's permanent repertoire, for the altoist is quite inspired throughout this surprising set. With strong assists from cornetist Nat Adderley, Charles Lloyd on tenor and flute, pianist Joe Zawinul, bassist Sam Jones, and drummer Louis Hayes and producer David Axelrod, Cannonball plays near his peak; this is certainly the finest album by this particular sextet. [The 2003 reissue includes new liner notes by Donald Elfman and four bonus tracks: two previously unreleased songs ("Sweet Georgie Bright" and "Island Blues") and two songs that were released as a single ("Little Boy With the Sad Eyes" and "Goodbye Charlie"). The four songs have nothing to do with Fiddler on the Roof but are included because they were recorded by the same band a month before they went into the studio to cut Fiddler.]
---Scott Yanow & Tim Sendra, 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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