Cannonball Adderley - Domination (1965)

01.Domination 3:37
02.Cyclops 4:40
03.Introduction To A Samba 5:09
04.Shake A Lady 3:00
05.Interlude 4:49
06.Mystified (aka Angel Face) 3:45
07.I Worship You 6:17
08.Gon Gong 3:32
09.Experience In E 20:13.

Cannonball Adderley (alto saxophone)

Gerald Vinci, Assa Drori, Bill Henderson , Ralph Shaeffer, Marvin Limonick, Lou Raderman, Henry Roth, Stanley Plummer, William Hymanson, Israel Baker, Paul Shure (violin)

Myron Sandler, Gareth "Garry" Nuttycombe, Joe Reilich, Allan Harshman, Milton Thomas, Samuel Boghossian (viola)

Armand Karpoff, Jeffrey Solow, Raphael Kramer, Edgar Lustgarten (cello)

Bill Green (flute, piccolo, clarinet)

Jim Horn (flute, piccolo)

Budd Johnson (flute, clarinet, tenor saxophone)

Bob Ashton (flute, bass clarinet, tenor saxophone)

Danny Bank (flute, bass clarinet, baritone saxophone)

Marshall Royal, Phil Woods (clarinet, alto saxophone)

Ernie Watts (oboe)

Donald Christlieb (bassoon)

Gene Cipriano, Jackie Kelso (saxophone)

Julian "Cannonball" Adderley (alto saxophone)

Clark Terry, Freddie Hill, Snooky Young, Jimmy Maxwell, Jimmy Nottingham, Paul Hubinon (trumpet); Arthur Maebe, David Duke (French horn)

Dick Hyde, J.J. Johnson , Jimmy Cleveland, Willie Dennis , Dick Leith (trombone)

Tony Studd (bass trombone)

Don Butterfield (tuba)

Walter Booker (bass instrument)

Grady Tate, Louis Hayes (drums)

John Arnold (percussion)

Nat Adderley (trumpet, cornet)

Joe Zawinul (piano, electric piano)

Roy McCurdy (drums).

Recording information: Capitol Studios, New York, NY (04/26/1965/05/20/1970)

In the wake of Miles Davis's pioneering collaborations with Gil Evans, it became quite fashionable in the 1950s and '60s for serious jazz musicians to work with well-known arrangers and to record those arrangements with large orchestras. DOMINATION is Cannonball Adderley's foray into such a setting, with ambitious yet accessible charts by Oliver Nelson on tunes by the Adderley brothers (Cannonball and Nat--who also plays trumpet on the album), Joe Zawinul, and others.

Though the soulful, funky vibe that characterized most of Adderley's '60s work is still in full effect here, the sizable orchestra lends a large-scale punch to the music that's quite unusual for the style. The results are playful, sophisticated, and sonically impressive, with Nelson's arrangements highlighting dynamics and playing the orchestra off itself. Their lengthy, always-imaginative solos on nearly every track prove Nat and Cannonball are still the real stars here, however, which keeps this orchestral outing nicely balanced with the clarity and sensibility of small-group jazz.