3 LP ON 2 CD
## 101 - 105 'The Cannonball Adderley Quintet in San Francisco' 1959 Riverside/OJC (4.5*)
Cannonball Adderley had struggled unsuccessfully with a quintet during 1955-57, giving up for a time to play with Miles Davis' group. In 1959 his new quintet suddenly caught on with the release of this very exciting live album, which has been reissued on CD in the Original Jazz Classics series. With cornetist Nat Adderley, pianist Bobby Timmons, bassist Sam Jones and drummer Louis Hayes, Cannonball had the top new jazz group of 1959. Their version of Timmons' "This Here" was a major hit and the other numbers on this famous date (which include "Spontaneous Combustion," "Hi-Fly," "You Got It," "Bohemia After Dark" and "Straight No Chaser") are also quite enjoyable, showing why Cannonball Adderley's group was a pacesetter in funky soul jazz and proving that they could outswing most of their competition. This gem is essential for all jazz collections.
- Scott Yanow (All Music Guide)
## 106-108, 201 - 203 'Live in Europe' 1960
'What Is This Thing Called Soul?' 1960 Pablo/OJC (4*)
Cannonball Adderley's 1960 Quintet (with cornetist Nat Adderley and pianist Victor Feldman) was in top form during their tour of Europe. Norman Granz did not release the music heard on this CD until almost 25 years after the fact but the strong solos and enthusiastic ensembles had not dated nor faded with time. These versions of "The Chant," "What Is This Thing Called Love?" and "Big 'P'" make for interesting comparisons with the better-known renditions. Adderley fans will want this set.
- Scott Yanow (All Music Guide)
## 204 - 209 'The Cannonball Adderley Quintet Plus' 1961Original Jazz (4*)
For this CD reissue of a Riverside date, altoist Cannonball Adderley's 1961 Quintet (which includes cornetist Nat Adderley, pianist Victor Feldman, bassist Sam Jones and drummer Louis Hayes) is joined by guest pianist Wynton Kelly on five of the eight selections, during which Feldman switches quite effectively to vibes. The music falls between funky soul-jazz and hard bop, and each of the performances (particularly "Star Eyes" and "Well You Needn't") is enjoyable. The CD adds a new alternate take of "Lisa" and the previously unissued "O.P." to the original program.
- Scott Yanow (All Music Guide)
========= from the cover ==========
The Cannonball Adderley Quintet In San Francisco Featuring Nat Adderley
When the Cannonball Adderley Quintet finished "Hi-Fly" - its closing number after a four-week engagement at the Jazz Workshop in October of 1939 - the audience stood and cheered and whistled and clapped for fifteen minutes.
In a dozen years of covering jazz events in San Francisco I have never seen anything like this happen. Believe me, it was impressive. The audience absolutely loved that band and the feeling of love spread throughout the club night after night, set after set. It may strike you that the word "love" is a little oversentimental in such a context. But it was true. There is in the current Cannonball Adderley group a great, sweeping feeling of warmth that is the characteristic of jazz which, all attempts to intellectualize it to the contrary notwithstanding, marks it as a reflection of the best of American culture.
When Dimitri Shostakovich, the Russian composer, went to hear his first authentic American jazz, he went to the Jazz Workshop and sat for an hour attentively listening to Cannonball's group. He made no comment whatsoever, which is in itself a comment of sorts. But he dug it. He smiled appreciatively several times, applauded vigorously on occasion, and leaned forward intently to watch a Louis Hayes drum solo.
The Russians were the only people in four weeks who did not move a muscle in time to the band. The rhythm of this group is contagious and its overall effect might well cause the lame to walk and the halt to throw away their crutches. At times the atmosphere of the Jazz Workshop resembled a church as much as jazz club. The band quite obviously was having a ball ("I have never worked a job I enjoyed more" was the unanimous verdict of Julian and Nat) and there was no reluctance on their part to show it. When Bobby Timmons's exciting "This Here" ("it's part shout and part moan") would get moving, with Bobby in the midst of one of his full-fingered, rocking solos where he seems almost to be playing a duet with himself, the whole place would start rocking and stomping with the band.
The Jazz Workshop is a small club on Broadway in the North Beach district of San Francisco. That street is today's 32nd Street with jazz clubs and action going on all night long, people carrying on in the streets and flowing off the sidewalks into the traffic lane on the weekends. Cannonball did capacity business all through his four weeks. On the weekends you couldn't get into the club until someone else got out (shades of the old Famous Door and the Onyx).
People gathered outside the club to hear the band on the street (you could hear this band on the street, believe me) in clusters that blocked traffic.
It was, as I've said, quite an experience even for San Francisco, which has had a few jazz experiences.
The band was together only briefly before opening in San Francisco, but by the time the album was cut they were sounding like a series of identical twins (or should I say a set of quintuplets?). For me, hearing this group was delightful: one after another its members dominated my listening on a number. And then the impact of the full band would hit. I can honestly say that it has been a long time since I have so thoroughly enjoyed a group. I only hope that some portion of this comes through to you in hearing the album so that you may share this enjoyment.
I would like to draw attention especially to two tracks, Randy Weston's smashing "Hi-Fly" and Bobby Timmons's "This Here"; to Nat Adderley's jubilant, puckish playing throughout; to Julian's incredibly rhythmic soloing (a chart of his accents would read like a drum part), to Sam Jones and to Louis Hayes.
And then I would like to add Jon Hendricks's classic one-word jazz poem: "Listen!"
- Ralph J. Gleason
Live In Europe
In the early 1960s, I took Cannonball Adderley on a concert tour to Europe (his first, I believe) with a group that probably was the best he ever had. It included his brother, Nat Adderley on cornet; Vie Feldman, piano; Sam Jones, bass; and Louis Hayes, drums.
I recorded the tour in various cities and the tapes lay unreleased for almost twenty-five years. After talking to Nat Adderley, we both agreed that it was time to release this glorious music.
For this album we selected enough material from concerts held in Paris, Stockholm, and Gothenburg, for two albums of which this is the first release. Because Cannonball was much more a rounded human being than only a great jazz artist (for instance, he performed in Chicago's "PUSH" concerts from the inception) and being a drolly funny man in his conversations, we also included some of his amusing introductions.
- Norman Granz
The Cannonball Adderley Quintet Plus
About one year, six months and twenty-three days before the date of this particular recording, the Cannonball Adderley Quintet produced twelve minutes and twenty-six seconds of musical explosiveness entitled This Here. As we all know, the stir that followed was considerable. A hit record, a great swing over to "soul" music (a type of music that Ben Webster's been playing for thirty years without knowing it!), and a great new wave of popularity for Julian Adderley and his group.
Actually, though, we bystanders shouldn't have been too surprised by all this. The large gentleman from Florida has been roaring through the music business saying "You know what I mean?" and showing us what he meant ever since that notable mid-1950s evening in New York when, as an unknown, he strode upon the bandstand at the Cafe Bohemia and proceeded to 'blow the walls down. Cannon had brought real freshness to the scene then, brought it again with his recording of This Here, did it once again with his subsequent efforts in the area of big-band music (African Waltz, etc.) and, I am convinced, has done so yet another time with the recording contained in this jacket.
Ever since the recording of Bobby Timmons' This Here, Cannon-ball has been deeply associated with the "soul" aspect of jazz: music that is rustic in design, semireligious in flavor, heavily rooted in the blues. With this album, I feel, Cannon shows us yet another aspect of the Adderley emotional tract. The "soul" is still decidedly there, but these tracks seem to indicate that some attractive new seasonings have been added to the boiling pot, the end result being Adderley music that's just a little happier, a little lighter, a little more humorous than before. If this is possible! I think that after hearing the group on old standbys like Well You Needn't and Star Eyes, and on Victor Feldman and Torrie Zito's intriguing Lisa, you'll understand exactly what I mean, and that you'll agree with me.
This, to me, is certainly one excellent reason for the "Plus" in the album title. But since, of course, I hadn't yet heard the music when I was first asked to write these notes, I found that word fairly mysterious. When I asked Orrin Keepnews of Riverside, he allowed as how there were several reasons for it. Aside from the obvious fact that, on the album, Wynton Kelly was added to the group (and in addition to the just-noted musical reason I found on listening to the record), he brought up another interesting point. This album was recorded just after the group returned from a lengthy and highly- successful European tour. Thus you are hearing musicians fresh from a steady stint of playing together night after night, playing these tunes, molded and jelled into a tightly-knit creative organization. Lines fresh in their minds, a strong feeling for the tunes and for each other-this is definitely a plus factor for any musical organization.
With regard to the aforementioned Wynton Kelly "plus"-the addition of Kelly (who happens to be a close musical and personal friend of virtually all involved here) allows us to hear, in addition to the remarkable Mr. Kelly himself, the full instrumentation of the Adderley Quintet plus Victor Feldman's tasty vibes. When the horns drop out on portions of tunes, the remaining rhythm quartet is delightfully-forceful. (One friend of mine described it as "sorta like a hairy Modern Jazz Quartet"- with no offense intended, I'm sure.) As for the full group: Cannon excites you with every key on his axe; Nat plays better than ever before (as he seems to have been doing each time out for quite a while now) ; Wynton is zestfully melodic, as ever; Vie makes the transition from instrument to instrument beautifully; Louis Hayes' fine taste shines through like the guiding light that it is; and Sam Jones walks on, twelve feet tall.
Arriving Soon, the album-opener, is a new Eddie "Cleanhead" Vinson original. The blues-singer and altoist had been off the scene for a few years, but Cannon ran across him in Kansas City and extracted a few choice numbers from him, including this haunting theme. (I don't know about the state of your pictorial imagination, but during Cannon's dramatic opening statement I can see John Cassavetes staring from a West 67th Street rooftop.) New Delhi is a Vic Feldman tune with a beautiful melody line, excellent vibes, and prettily-muted work by Nat. Lisa, recorded before by Feldman on his own Riverside album, "Merry Olde Soul" (RLP 366; Stereo 9366), is given slightly faster treatment this time, which seems to make Lisa a more exciting and sinister chick; and Cannon tells the tale beautifully. Thelonious Monk's Well You Needn't is taken at a brisk clip, lends itself to this rather rollicking treatment, and displays an impressive feeling of band unity. The Brothers Adderley are exceptionally moving on Star Eyes where, after an opening Latin vamp, Cannonball almost explodes into the melody, leading Nat into the soaring release. Winetone, a blues line by Kelly, draws its title from Chicago disc jockey Daddy-o Daylie's special pronunciation of the composer's name. The date's only unfamiliar tune for the group - actually, Wynton worked it up in the studio - it comes off in a way that suggests that, when things are feeling right and going right, both total spontaneity and pre-set organization are likely to be equally effective.
There is little more to say. Whether you be a deepdyed fan or not, I think you'll really like this album. The Adderley excitement is there, the Adderley "soul" is there, and then there's that new something-else - that Cannonball Adderley Quintet Plus factor. You know what I mean ?
- Ed Sherman