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| 3.324 Ft
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| 1. | 74 Miles Away
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| 2. | One for Newk
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| 3. | Mystified (aka Angel Face)
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| 4. | Money in the Pocket
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| 5. | One Man's Dream
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| 6. | Hippodelphia
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| 7. | Yvette
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| 8. | Mercy, Mercy, Mercy
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| 9. | Ndo Lima
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| 10. | Dr. Honorus Causa [Live]
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Jazz
Cannonball Adderley - Sax (Alto), Sax (Soprano)
Airto Moreira - Percussion
George Duke - Piano (Electric)
Grady Tate - Drums
Joe Zawinul - Compilation, Fender Rhodes, Piano, Piano (Electric)
Louis Hayes - Drums
Nat Adderley - Cornet
Richard Anthony Davis - Bass
Richard Davis - Bass
Roy McCurdy - Drums
Sam Jones - Bass
Victor Gaskin - Bass
Walter Booker - Bass
* Bob Belden - Liner Notes, Reissue Producer
* Chuck Stewart - Cover Photo
* David Axelrod - Original Session Producer
* H.B. Barnum - Conductor, Orchestral Arrangements
* Oliver Nelson - Conductor, Orchestral Arrangements
* Patrick Roques - Art Direction, Design
* Ron McMaster - Mastering
Cannonball Plays Zawinul represents the exquisite fruits of the musical relationship between saxophonist Cannonball Adderley and pianist/composer Joe Zawinul. Recorded between 1961 and 1971, all cuts were either written or co-written by Zawinul, and, except for one piece ("Dr. Honorus Causa"), he also serves as part of the various combos. All of the work here remains loose but nonetheless retains a sparkling intensity. The longer cuts, in particular, show a group of musicians searching out the free parameters of post-bop without ever drifting off into space. Both "74 Miles Away" and "Money in the Pocket," 14 and ten minutes respectively, maintain strong central themes, filled with rhythm and melody, while allowing Adderley, Zawinul, drummer Roy McCurdy, bassist Victor Gaskin, and cornetist Nat Adderley lots of elasticity to develop their ideas. While most of these pieces were recorded in the mid-'60s and provide the album with a certain unity, a wide aesthetic gap exists between 1961's straightforward "One Man's Dream" and 1971's adventurous "Dr. Honorus Causa." So in one way, Cannonball Plays Zawinul provides a portrait of two artists who kept reaching beyond the obvious to find their muse. The album is an adventurous and thrilling document, sure to please fans of both players and anyone who enjoys challenging post-bop.
---Ronnie D. Lankford Jr., 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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