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  Исполнитель(и) :
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  Наименование CD :
   Portrait Of Cannonball



Год издания : 1958/1989

Компания звукозаписи : Riverside, OJC

Музыкальный стиль : Soul-Jazz, Hard Bop

Время звучания : 58:26

Код CD : OJCCD-361-2(R-269)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Saxophone - Bop)      

Julian Adderley Quintet

Recorded New York; July 1, 1958.

Digital remastering, 1989 (Fantasy Studios, Berkeley)

Tracks 2, 3, 9: Bonus tracks

This fine Riverside debut by Adderley was cut just a few months after the alto saxophonist had contributed to Miles Davis' stellar Milestones release. Joining Adderley for the six tracks here are fellow Davis alumni Philly Joe Jones on drums and Bill Evans on piano. These three are augmented by the wonderful and often-underrated Blue Mitchell on trumpet and the equally illustrious Sam Jones on bass. Everyone is in top form on a varied set that takes in two Adderley originals (the fine ballad "Straight Life" and "A Little Taste"), a classic Gigi Gryce number ("Minority"), and Miles' oft-covered "Nardis." Filling out the program, we have a rare Sam Jones-penned cut, "Blue Funk," and a lone standard in the Rogers & Hammerstein chestnut from Oklahoma, "People Will Say We're in Love." One of the highlights from Adderley's hard bop prime.

All Music Guide

========= from the cover ==========

"Portrait of Cannonball" strikes us as a most fitting title for Julian Adderley's first album for Riverside, not only because of the unusually expressive photograph of the man on the cover, but also because the contents of the LP seem to make up an equally expressive musical "portrait."

Centuries ago, when a painter was commissioned by some important or wealthy man to create one of those portraits that were supposed to hang forever in ancestral halls, he was apt to show the subject at his ease and in familiar surroundings: perhaps seated in a favorite chair or with members of his family around him. This album meets many of the conditions for being a current jazz equivalent of such a portrait. Here is Cannonball, blowing in wonderfully relaxed fashion, surrounded by a hand-picked group that happens to represent different phases of his career to date.

Adderley himself is just the same sort of imposing, assured figure as one of those portrait subjects of another day. But since the mood here is modern, we might as well get off this particular comparison by noting that there is nothing formal in this portrait: both the cover photo and the spirit of the album are candid and easygoing ...

Cannonball today, just short of thirty (he was born in September, 1928), can be described as having a solid present position in jazz and an awesomely promising future. This is true at least partly because he has been able to resist the worst aspects of a dangerous kind of success. The usual jazz pattern calls for much early scuffling (the big fish from a little local pond comes to the big city and gets lost in the shuffle for a while before eventually, if at all, finding his way). But when Julian Adderley first arrived in New York from Fort Lauder-dale, Florida, where he had been a successful local band-leader and then a high school music teacher and band director, he found to his surprise that he had it made in advance!

Rumor, reputation and legend had preceded him on their mysterious grapevine. There were all sorts of stories: some seemed based on an assumption that all of Florida (outside of Miami) is backwoods and swamps, and claimed that this boy born and raised in Tallahassee (the state capitol) had never even heard of Charlie Parker until after he had coincidentally developed a similar style; some, based on ignorance of how young he was, claimed that Adderley had been playing that way first, or even that Bird had somehow heard and copied him; still others went back to some mysterious other musician from whom both had separately learned.

When, out of all this fog and nonsense, there appeared at the Cafe Bohemia in New York, in the Summer of 1955, a young man who really played remarkably well, the result was an immediate sensation. He began recording, went on the big-cities road route with his own group. He was, without quite knowing what hit him, a star.

It was all a bit too good to be true. The first kind of reaction was one described by Coleman Hawkins in his Documentary album (RLP 12-117/8), in speaking of the musical perils of New York. He used Cannonball as an example of how the bright new star becomes everyone's target; everyone considers him the man it would be most advantageous to 'cut', and inevitably at least some succeed. Another problem was that the critics largely turned on Julian, dismissing him as just a Bird imitator. Every alto player for years now has been called that, but it's even easier to attack on those grounds someone who gets publicized as "the new Bird." Finally, as Julian himself admits, he just didn't know enough about all the sub-surface problems of being a big-time bandleader.

Although he turned out to be one of the few capable of introducing his personnel and tunes in lucid, audible English, there were lots of non-musical essentials of handling people and places that you just can't command without experience. So, by early 1958, he had disbanded and begun a new phase of his career, as a featured member of the Miles Davis Sextet.

The Cannonball who had come up from Florida was very probably less deserving of the "Bird imitator" tag than many others, although of course he shared with practically everyone that deep influence. Julian's first interest in jazz had come from his father, a one-time cornetist. This has helped make him one of the few modernists with knowledge and appreciation of the jazzmen and music that preceded him. He has also always had a strongly lyrical quality and a deep understanding of the blues. These were qualities that Bird had, too; and that kind of similarity should not be undervalued.

By now he has added a growing maturity of concept and richness of tone to his originally powerful musical equipment. That pre-appearance hoopla and legend (none of it of his own making) has died down - and it's important to note that Cannonball never paid it any attention. So he stands on his own feet today as one of the most richly talented and swiftly-growing of contemporary jazz figures, speaking ever more importantly with his own musical voice.

The colleagues he selected for this album include, first of all, "Blue" Mitchell, an exceptionally gifted young trumpet man who is an old friend from Florida days. It was Cannonball who brought Blue forcibly to Riverside's attention (the story is told in detail in the notes to Mitchell's own album - RLP 12-273 - recorded in the same week as this one) and it was Cannonball who felt that using Mitchell on this LP would be a most helpful way of introducing him.

Sam Jones, one of the best of several superior young bassists currently on the New York scene, is also from Florida and was an important part of Adderley's own group. Philly Joe Jones (no relation), who was Miles Davis' drummer when Cannonball joined that unit, is one of today's most formidable rhythm men. He can be heard with great frequency on Riverside LPs, and his presence here is an indication that Cannonball shares our high opinion of him. Bill Evans, also currently featured with Miles, is a brilliant and distinctive stylist just beginning to gain recognition (he was voted "New Star" pianist in the 1958 Down Beat Critics Poll).

The friends-and-associates aspect of this "portrait" is also in evidence in the repertoire. In addition to one free-blowing version of a standard, there are two Cannon-ball originals {A Little Taste, first recorded on the first album Adderley made; and Straight Life, a new ballad), a blues contributed by Sam Jones, a new scoring of one of the best tunes of the talented composer-arranger-altoist Gigi Gryce, and finally the Oriental-flavored Nardis, one of Miles Davis' rather infrequent compositions, specifically written for Cannonball's Riverside debut.

A High Fidelity Recording - Riverside-Reeves Spec-Trosonic High Fidelity Engineering (Audio Compensation: RIAA Curve). Produced, and notes written by Orrin Keepnews. Cover designed by Paul Bacon; cover photograph: Engineer: Jack Matthews (Reeves Sound Studios).

The originally-issued version of "Minority" was created by editing the balance of Take 3 onto the opening chorus and alto solo of Take 2. Both takes, complete and unedited, appeared in the reissue "twofer" titled Cannonball and Eight Giants (Milestone 47001), but this is the first time all three can be heard together, along with the rest of the original album. As an added bonus, there's the almost accepted next-to-last performance of Miles Davis's tricky and then newly written "Nardis."


  Соисполнители :

Bill Evans (Piano)
Blue Mitchell (Trumpet)
Philly Joe Jones (Drums)
Sam Jones (Bass)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Minority (Original Issue)         0:07:05 Gryce
   2 Minority (Take 2)         0:07:32 -"-
   3 Minority (Take 3)         0:07:12 -"-
   4 Straight Life         0:05:32 Adderley
   5 Blue Funk         0:05:34 Jones
   6 A Little Taste         0:04:40 Adderley
   7 People Will Say We're In Love         0:09:42 Hammerstein, Rodgers
   8 Nardis (Take 5)         0:05:33 Davis
   9 Nardis (Take 4)         0:05:36 -"-

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 T   'щелкнуть' - переход к тексту композиции.

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Последние изменения в документе сделаны 20/10/2016 22:08:11

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