Cannonball Adderley Quintet - Plus (1961)
Genre: Jazz / hard bop, soul-jazz
Label: Riverside
Total time: 55:19
MP3 @320kbps
RS.com: 136mb, with covers
WinRar File Recovery: 5%Allmusic.com:
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.Amazon reviewer:
If you like Cannonball you'll love this CD. It features the quintet that made the superb (and sadly unattainable) At the Lighthouse album. But the great thing about Plus is that the recording quality is absolutely superb so what you lose in live atmosphere you gain in excellent sound - Cannon's alto never sounded better. Every track is strong with some great melodic material and strong solos. I have about 12 of his albums and I rate this one of the best.
Cannonball-adderley.com:
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 Her! e, 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, Cannonball has been deeply associated with the "soul" aspect of jazz : music that is rustic in design, semi-religious 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, i s 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 K! elly "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 "sort a 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; Vic 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" V! inson original. The blues-singer and altoist had been off the ! scene fo r 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 866; Sterec 9866), 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' 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 me! lody, 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 deep dyed 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 ?Personnel:
Cannonball Adderley (alto sax)Nat Adderley (cornet)Victor Feldman (vibraphone and piano) [tracks 2-5]
Wynton Kelly (piano) [tracks 2-5, 8]
Sam Jones (bass and cello)Ron Carter (bass) [track 8]
Louis Hayes (drums)
Tracks:
1. Arriving Soon (8:11)
2. Well, You Needn't(6:25)
3. New Delhi (6:54)
4. Winetone (7:00)
5. Star Eyes (7:04)
6. Lisa (6:37)
7. Lisa [alternate take] (6:59)
8. O.P. (5:13)Code:http://[CENSORED].com/files/132558675/caq83p.part1.rar
Part: 2 : Red garland - red's good groove (1962)
Red Garland - Red's Good Groove (1962)
Genre: Jazz / hard bop
MP3 @320kbps
RS.com: 79mb, with coverAllmusic.com:
Although this is a one time studio blowing session, things obviously gelled quickly for everyone as they got underway on this 1962 recording by Red Garland, which features both Blue Mitchell and Pepper Adams in prominent supporting roles. The pianist gets things off on the right foot with his relaxed blues "Red's Good Groove," while Mitchell, who had already recorded a number of dates as a leader himself, delivers a confident yet understated trumpet solo. Baritone saxophonist Pepper Adams contributed the oddly named "Excerent!" (a title which somewhat puzzled the original liner note writer Peter Drew but likely refers to the tendency of some Orientals to substitute the letter "r" for "l," long before such humor would be considered politically incorrect and unlikely to appear on a CD jacket), it's a hard bop tune that isn't the least bit reminiscent of the Far East. The core of the date consists of several standards, conclud! ing with a driving take of "Falling in Love With Love." Bassist Sam Jones and drummer Philly Joe Jones supply the fluid rhythm that powers the quintet throughout this very enjoyable session.Personnel:
Pepper Adams, Sax (Baritone)
Red Garland, Piano
Philly Joe Jones, Drums
Sam Jones, Bass
Blue Mitchell, TrumpetRecorded March 22, 1962 at Reeves Sound Studios, NYCTracks:
1. Red's Good Groove (R.Garland) 8:21
2. Love Is Here to Stay (G.Gershwin/I.Garshwin) 4:43
3. This Time the Dream's on Me (Arlen/Mercer) 5:53
4. Take Me in Your Arms (Alfred/Fritz/Mitchell) 5:35
5. Excerent! (P.Adams) 6:05
6. Falling in Love With Love (Rodgers/Hart) 6:05Code:
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