One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound 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.
Cannonball Enroute is the sixth album by the jazz saxophonist Cannonball Adderley, and his first released on the Mercury label, featuring performances with Nat Adderley, Junior Mance, Sam Jones, and Jimmy Cobb. Cannonball Adderley's enroute to a great jazz legacy here – stepping out in a groove that begins to show some of the soul jazz modes he was forging at the end of the 50s – a great change from the straighter bop styles of his early years! The lineup here is a wonderful early expression of the familiar Adderley groove – with brother Nat Adderley on cornet, Junior Mance on piano, Sam Jones on bass, and Jimmy Cobb on drums – with Mance and Jones bringing an especially nice bottom end to the record – one that gets things moving in a very soulful way! Titles include "Porky", "Hoppin John", "That Funky Train", "I'll Remember April", and "18th Century Ballroom".
Unquestionably, the best album under Cannonball's name. The quintet/sextet albums are mostly geared to a more pop market and contain much "packaged" soul and funk, while the dates Cannonball shared with Miles, Bags, Bill Evans, Coltrane, and Gil Evans often find him deferring to or competing against musical temperaments not wholly sympathetic with his own…
Remastered in 24-bit from the original master tapes. Part of our Keepnews Collection, which spotlights classic albums originally produced by the legendary Orrin Keepnews. Recorded live at the Jazz Workshop in San Francisco, this hit album captures the bluesy alto saxophonist and his band (featuring brother Nat on cornet and Bobby Timmons on piano) during their triumphant four-week run. It not only wowed the city’s jazz aficionados but also introduced Russian classical composer Dmitri Shostakovich to his first dose of live jazz.
A few seconds of spacy echo loops and you know where this album is coming from – the early jazz/rock era, the Age of Aquarius and all that. Yet this crazy amalgam of jazz, rock, electronics, and spoken astrological advice by the popular Los Angeles DJ Rick Holmes actually works, for the music behind the soulfully intoned words is very inventive and Holmes plays effectively off its rhythms.
A set that's right on target, right from the start – and one that has the young Cannonball Adderley really coming into his groove! The set's a lot more soul jazz-oriented than some of Cannon's records from a few years before – played by a rock-solid group that includes brother Nat Adderley on cornet, Junior Mance on piano, Sam Jones on bass, and Jimmy Cobb on drums – hitting a groove that's got plenty of nascent elements of that Cannonball sound that would virtually take over jazz in the 60s! Yet there's also a nicely different vibe going on here too – a bit less structure, and a looser approach to the mode – spun out with some modern moments too, on titles that include "Straight No Chaser", "Jubilation", "Our Delight", "Fuller Bop Man", and "Stay On It".
Cannonball Adderley gave up his own band in 1957 when he had the opportunity to become a sideman in Miles Davis' epic ensemble with John Coltrane, eventually resulting in some of the greatest jazz recordings of all time (including Milestones and Kind of Blue). Davis returned the favor in March of 1958, appearing as a sideman on Adderley's all-star quintet date for Blue Note, and the resulting session is indeed Somethin' Else. Both horn players are at their peak of lyrical invention, crafting gorgeous, flowing blues lines on the title tune and "One for Daddy-O," as the rhythm team (Hank Jones, Sam Jones, Art Blakey) creates a taut, focused groove…
A massive live set from Cannonball Adderley – and a record that really shows the growth he'd undergone in just a few short years! The album's done in close collaboration with David Axelrod – who'd handled Cannon's big live dates for Capitol in the 60s – but this record is much more freewheeling, open-ended, fuzz, funky, and electric overall! Tracks are all nice and long, and really trip out in the best way – with keyboards from George Duke in the core group, plus some heavy basslines from Walter Booker, drums from Roy McCurdy, and guitar from Mike Deasy on a number of key tracks.