Cannonball Adderley: The Cannonball Adderley Quintet In San Francisco jazz review by Samuel Chell, published on June 29, 2007. Find thousands reviews at All About Jazz! The Cannonball Adderley Quintet - Cannonball Adderley Quintet in San Francisco (1989) [Mp3 320 kbps].: Scheda. Artista: The Cannonball Adderley Quintet Titolo Album: Cannonball Adderley Quintet in S. ![]() Hot on the heels of session work with Miles Davis and his Kind of Blue-era group, alto saxophonist Cannonball Adderley recorded this excellent live date with his brother, cornetist Nat Adderley, along with pianist Bobby Timmons, bassist Sam Jones, and drummer Louis Hayes. The Cannonball Adderley Quintet in San Francisco defined the accessible, yet technically challenging, soul-jazz that Adderley would be associated with for the rest of his career. The warm, exuberant feel of the quintet is especially evident on the set's two finest tracks -- a spirited take on Randy Weston's 'Hi-Fly,' and on Timmons' swinging 'This Here.' Two of Adderley's own compositions, 'Spontaneous Combustion' and 'You Got It!,' blend blazing post-bop dexterity with pulsing, infectious blues structures. Both Cannonball and Nat Adderley play with stunning, bluesy brilliance here, while the rhythm section ably anchors the proceedings. Outside of Somethin' Else, Adderley's 1958 masterpiece, In San Francisco may be the saxophonist's defining moment. ~ Anthony Tognazzini. ![]() Cannonball Adderley Work SongIf you're familiar with, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help. You can become a sustaining member for a modest and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. In the late 1950s and early 1960s, alto saxophonist Cannonball Adderley enjoyed his greatest popularity as measured by the commercial success of Riverside releases featuring his own group with his brother Nathaniel on cornet. The sessions were frequently recorded live, including spoken introductions by the ebullient leader, presenting some 'accessible' tunes, and spotlighting at least one real crowd-pleaser ('This Here,' 'Sack O' Woe,' 'Jive Samba,' 'Mercy Mercy, Mercy'), each later appearing as a hit single. Cannonball Adderley BiographyThese sessions are memorable less for the individual solos than the fire of the ensemble, anchored and propelled by one of the best walking bass players in the business, Sam Jones. Returning to these once-popular Adderley brothers releases is to lament the absence of such ensembles on today's scene as well as to be reminded of the relatively hard times the alto giant would encounter by the early 1970s, when he had trouble booking the group (reduced to auditioning for clueless Student Activities Directors shopping for next year's campus entertainment). Regardless, any of these Adderley brothers' Riversides represents the so-called 'hard bop' idiom at its best and, like the groups of Art Blakey and Horace Silver, should be required listening for the ensemble sound alone. Standing at the head of an impressive succession of popular on-location albums, 1959's In San Francisco not only established the formula but is, in its own right, an exemplary session, perhaps superior to the later groups with pianist Victor Feldman or Joe Zawinul and tenorist/flutist Yusef Lateef. The presence of the hard-swinging Timmons certainly increased the funk and soul appeal of this Adderley edition. The leader is in especially high spirits on the present date, confiding to the crowd that Timmons' 'This Here' is known in the community as 'Dish heah,' and putting it in the context of church music before unleashing Timmons' infectious down-home introduction on the jazz-soul waltz.
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