All-Star Celebration Of Cannonball Adderley - Cannon Re-Loaded (2008)

01.Jive Samba [06:35]

02.Work Song [05:52]

03.Mercy, Mercy, Mercy [05:51]

04.Save Your Love For Me (featuring Nancy Wilson) [04:53]

05.Sack O' Woe [05:33]

06.Country Preacher [03:21]

07.Inside Straight [05:07]

08.I Should Care [05:49]

09.The Masquerade Is Over (featuring Nancy Wilson) [05:29]

10.Stars Fell On Alabama [04:19].

Tom Scott - Leader, Alto Saxophone

Terence Blanchard - Trumpet

George Duke - Piano, Fender Rhodes, Wurlitzer

Marcus Miller - Bass

Steve Gadd - Drums

Larry Goldings - Hammond B3 Organ

Dave Carpenter - Bass (tr. 8,10)

Nancy Wilson - Vocals (tr. 4,9).

Saxophone stalwart Tom Scott and an all star cast of today's jazz icons join to celebrate the legendary music of Cannonball Adderley, with a very special guest appearance by Nancy Wilson reprising two songs from her classic 1961 recording, Nancy Wilson/Cannonball Adderley.

The Cannonball Adderley Quintet - The Black Messiah (1972)

A1.Introduction 0:50

A2.The Black Messiah 16:12

A3.Monologue 2:20

A4.Little Benny Hen 4:15

B1.Zanek 5:07

B2.Dr. Honouris Causa 14:48

C1.The Chocolate Nuissance 8:22

C2.Untitled 6:21

C3.The Steam Drill 8:42

D1.Eye Of The Cosmos 4:51

D2.Episode From The Music Came 2:39

D3.Heritage 4:43

D4.Circumference 3:18

D5.Pretty Paul 2:48

D6.The Scene 2:16.

Bass - Walter Booker

Clarinet - Alvin Battiste* (tracks: D2-D6)

Congas - Buck Clark* (tracks: C1, D4, D6)

Cornet - Nat Adderley

Drums - Roy McCurdy

Engineer - Gene Hicks

Guitar - Mike Deasy (tracks: A3, B1, C1, D1-D6)

Percussion - Airto*

Piano, Electric Piano - George Duke

Producer - Cannonball Adderley , David Axelrod

Saxophone - Cannonball Adderley , Ernie Watts (tracks: A3, B1, C2, D1-D6).

Recorded live at "The Troubadour", Hollywood.

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.

The Cannonball Adderley Quintet - Music,You All (1972)

1.The Brakes (Roy Mac Curdy/ Nat Adderley) 11:56
2.Cannon Raps 2:45
3.Capricorn (George Duke) 5:11
4.Walk Tall (Joe Zawinul) 5:57
5.OH Babe (Nat Adderley) 8:26
6.Cannon Raps 2:20
7.Music you All (Julian Adderley) 10:55
8.The Scene (Nat Adderley) 2:35.

JULIAN "CANNONBALL" ADDERLEY- alto sax

NAT ADDERLEY- cornet

GEORGE DUKE-piano

WALTER BOOKER-bass

ROY MAC CURDY- drums.

guest Artits;

ERNIE WATTS- tenor sax

MIKE DEASY-Guitar

AIRTO MOREIRA-percussion.

Writing about Julian "Cannonball" Adderley should be one of the simplest of tasks. There have been countless articles, countless reviews, dozens of liners on various records albums from wich to draw, and yet , it is difficult. Difficult because not only was he someone with whom I was closely associated in a varierty of different projects for ever a decade , but he was also my closest friend , my brother.

The lines of our ralationship were clearly drawn at first. I was notified by then head of the production (A&R) depertement that Cannon had request me to work as his producer when he signed with Capitol. However , as we became closer friends our relationship also strarted to change in our methods of work.

Our collaboration got tighter on his LP's and he started to get more and more involved in the albus that I was writing for myself as an artist. In the last five years, our roles within this relationship became more interwined. He became heavely involved in the production of my albums and I found myself getting more involved in some of the writting and arranging of his and brother Nat's. I include this information in these notes so that those who take the time to read "liner notes" will have some understanding regarding our occupation with each over.

Cannon's music is all encompassing. He could sit and listen to Earth Wind & Fire with the same intensity with witch he would listen to Chick Corea. I would drop by this home discuss something and find him totally engrossed in a piece by Prokofiev. He was very fond of a group called Traffic and wrote a tune that is on a LP of Nat's called "Traffic".I believe that in this album you will hera a great deal of this versatility.

the distorded guitar sound of Mike Deasy combines beautifully with the musical thoughts of Cannon, Nat, George Duke, Walter Booker and Roy Mac Curdy, which was the make-up of the Cannonball Adderley Quintet at the time of this recording. A frequent guest artist who worked with Cannonball on in innumerable occasions is the most innovative percussionist today, Airto Moreira. Another guest on this record is the great saxophonist Ernie Watts , also a friend, who not only played on this session but collaborated with Julian on the piece , "Music , You All" .

Let me state now that these are not reissue or pickup tracks. The "Walk Tall " composition of Joe Zawinul is unlike any other version that people may be familiar with, due to the completely free and open feeling that the players had while working before a live audience at the Troubadour Nightclub in Los Angeles. And as I mentioned previously, Mike Deasy's contribution on the guitar put eveything that he played on with the group into another dimension. Amore extant one, if you will.

Nat's singing of " Ho Babe" , o his particular night has got to be one of the highlights of any Cannonball Adderley Quintet album. It's totally " down" , but it's also beautiful.

For me, it is in the "raps" , that you will hear Julian Cannonball Adderley . Not just for his eloquence, or glibness, but for his innermost feelings on what the "music" meant to him. I think that he spoke for all of us who call ourselves "musicians" and just maybe for anyone in the music business who realizes that phrase is made up of two words. His comments on time seem now, when listening to them, as if he had a forewarning of the short length left to him of this most precious of all our commodities.

Anyway , just listen and dig what he , his brother , and their fellow players are doing for you on this album , because is what it's all about.

" Check it out..... check it. See ya ,-hear?".by David Axelrod.

Cannonball Adderley Quintet - Happy People (1972)

1.Happy People
2.Maria Tres Filhos
3.Savior
4.Ela.

WALTER BOOKER-String Bass

ROY McCURDY-Drums

GEORGE DUKE-Piano & Electric Piano

NAT ADDERLEY-Cornet

CANNONBALL ADDERLEY-Sax.

guest musicians:

Percussion: Airto Moreira, Mayuto*, Octavio*,King Errison

Guitar: David T. Walker (on "Savior")

Electric Bass: Chuck Rainey (on "Savior")

Special Vocals: Flora Purim

Vocal Solo on "Savior" by Olga James

Vocal Solo on "The Happy People" by Airto Moreira

Vocal Solo on "Ela" by Airto Moreira

*On all selections except "Savior".

Inspired by a trip to Brazil,the new music of Cannonball Adderley-Like flesh & blood & Rio,hot & humid & happy & unimaginably real.

Cannonball Adderley - Alabama Concerto (1958)

01.The Henry John Story 4:49
02.The Henry John Story (return) 3:17
03.Job's Red Wagon 3:07
04.Trampin' /The Loop 7:52
05.Trampin'/The Loop (return) 2:25
06.Little John Shoes 3:09
07.Milord's Calling 5:06
08.Blues For Christmas/Rufus Playboy/Grandma's Coffin 7:33
09.Grandma's Coffin/Rufus Playboy/Grandma's Coffin (return) 5:42

Julian "Cannonball' Adderley (Alto Saxophone)
Art Farmer (Trumpet)
John Benson Brooks (Arranger, Piano)
Barry Galbraith (Guitar)
Milt Hinton (Double Bass).

This is one of the more unusual sessions that altoist Cannonball Adderley recorded during his career. Originally released under composer John Benson Brooks' name and now available as an Adderley CD, the nine-part four-movement suite has original folk melodies interpreted by a quartet comprised of Adderley, trumpeter Art Farmer, guitarist Barry Galbraith and bassist Milt Hinton; Brooks briefly plays piano on one piece. Although not essential, the music is thought-provoking, quite melodic, and looks backwards toward folk music of the 1800's while giving the pieces a 1950's jazz sensibility. ~ Scott Yanow, All Music Guide

Cannonball Adderley - Somethin'Else (1958)

01.Autumn Leaves
02.Love for Sale
03.Somethin' Else
04.One for Daddy-O
05.Dancing in the Dark
06.Bangoon - (previously unreleased, bonus track).




Julian "Cannonball" Adderley (alto saxophone)
Miles Davis (trumpet)
Hank Jones (piano)
Sam Jones (bass)
Art Blakey (drums).
Recorded at the Van Gelder Studio, Hackensack, New Jersey on March 9, 1958.

read more.

Cannonball Adderley Quintet - In San Francisco (1959)

01.Few Words by Cannonball... And This Here, A
02.Spontaneous Combustion
03.Hi-Fly
04.You Got It!
05.Bohemia After Dark A.K.A. Birdland After Dark
06.Straight, No Chaser - (bonus track).




Cannonball Adderley: alto saxophone
Nat Adderley: cornet
Bobby Timmons: piano
Sam Jones: double bass
Louis Hayes: drums.
Recorded live at The Jazz Workshop, San Francisco, California on October 18 & 20, 1959.

Cannonball Adderley & John Coltrane - Cannonball and Coltrane (1959)

Cannonball Adderley & John Coltrane - Cannonball and Coltrane (1959)

1.Limehouse Blues
2.Stars Fell on Alabama
3.Wabash
4.Grand Central
5.You're a Weaver of Dreams
6.The Sleeper.








Cannonball Adderley - Sax (Alto)
Paul Chambers - Bass
Jimmy Cobb - Drums
John Coltrane - Sax (Tenor).

Cannonball Adderley

Cannonball Adderley - Bohemia After Dark (1955)

01. Bohemia After Dark
02. Chasm
03. Willow Weep for Me
04. Late Entry
05. Hear Me Talkin' to Ya
06. With Apologies to Oscar
07. We'll Be Together Again
08. Caribbean Cutie (Take 1)(Alternate Take).

Cannonball Adderley (Sax (Alto)) Jerome Richardson (Flute, Sax (Tenor)) Donald Byrd (Trumpet) Hank Jones, Horace Silver (Piano)
Paul Chambers (Bass) Kenny Clarke (Drums).



1961 Down Beat Critics Poll - by Down Beat Critics — 8/31/1961
Following are the winners of the 1961 Down Beat Critics Poll:

Hall of Fame: Coleman Hawkins
Big Band: Duke Ellington
Acoustic Jazz Group: Modern Jazz Quartet
Alto Saxophone: Cannonball Adderley
Tenor Saxophone: John Coltrane
Baritone Saxophone: Gerry Mulligan
Trumpet: Dizzie Gillespie
Trombone: J.J. Johnson
Clarinet: Buddy DeFranco
Flute: Frank Wess
Drums: Max Roach
Vibes: Milt Jackson
Acoustic Bass: Ray Brown
Guitar: Wes Montgomery
Piano: Thelonious Monk
Miscellaneous Instrument: Julius Watkins-French Horn
Arranger: Duke Ellington
Composer: Duke Ellington
Male Vocalist: Ray Charles
Female Vocalist: Ella Fitzgerald.

Cannonball Adderley

Cannonball Adderley - Phenix (1975)

01. High Fly (Weston) 6:04
02. Work Song (Adderley, Brown) 6:28
03. Sack O' Woe (Adderley) 5:06
04. Jive Samba (Adderley) 5:19
05. This Here (Timmons) 7:12
06. The Sidewalks of New York (Blake, Lawlor) 5:37
07. Hamba Nami (Adderley) 5:24
08. Domination (Adderley) 6:55
09. 74 Miles Away (Zawinul) 5:58
10. Country Preacher (Zawinul) 4:26
11. Stars Fell on Alabama (Parish, Perkins) 5:48
12. Walk Tall / Mercy, Mercy, Mercy (Marrow, Rein, Zawinul) 7:28

Cannonball Adderley (soprano & alto saxophones);
Nat Adderley (cornet);
George Duke (keyboards, synthesizer);
Mike Wolff (keyboards);
Walter Booker (acoustic & electric basses);
Sam Jones (acoustic bass);
Louis Hayes, Roy McCurdy (drums);
Airto Moreira (congas, percussion).

Cannonball Adderley

Julian Cannonball Adderley - African Waltz (1961)

01.Something Different
02.West Coast Blues
03.Smoke Gets In Your Eyes
04.Uptown, The
05.Stockholm Sweetnin'
06.African Waltz
07.Blue Brass Groove
08.Kelly Blue
09.Letter From Home
10.I'll Close My Eyes
11.This Here - (Bonus Track).



FLAC 784 Kbps


THE ORCHESTRA

|Trumpets|
Nat Adderley
Clark Terry
Nick Travis
Ernie Royal

|Trombones|
Bob Brookmeyer
Melba Riston
Jimmy Cleveland
Paul Faulise

|Reeds|
Cannonball Adderley
Jerome Richardson(tenor,flute)
Oliver Nelson(tenor,flute)
Arthur Clark-baritone sax
Don Butterfield-tuba

|RHYTHM SECTION|
Wynton Kelly-piano
Sam Jones-bass
Louis Hayes/Charles Persnip-drums.

Todos los arreglos con la excepción de Stockholm Sweetnin de (Quincy Jones, arreglos por Bob Brookmeyer),son de su propia escritura.
Cannonball contribuye con algunos brillantes solos y de las ingeniosas ideas en las melodias.
Tambien, una magnífica lectura por Cannonball en la balada de Jerome Kerm "Smoke Get's In Your Eyes".
En "Stockholm Sweetnin" Nat, el hermano de Cannonball, improvisa con gran invención melódica en Brookmeyer en los arreglos.
Esta es una gran gama de ideas presentadas aqui.El esfuerzo de colaboración es de la más alta calidad, y muy recomendado de escucharlo cuidadosamente.

Cannonball Adderley

Cannonball Adderley - Cannonball's Bossa Nova/ The Bossa Rio Sextet Of Brazil (1963)

01. Clouds (Einhorn, Ferreira) 4:51
02. Minha Saudade (Joao Donato) 2:22
03. Corcavado (A.C. Jobim) 6:43
04. Batida Diferentes (Einhorn, Ferreira) 3:27
05. Joyce's Sambas (Einhorn, Ferreira) 3:12
06. Groovy Sambas (Sergio Mendes) 4:59
07. O amor em paz (Once I Loved) (DeMoraes, Gilbert, Jobim) 7:48
08. Sambops (Einhorn, Ferreira) 3:34
09. Corcavado (alt take) 5:38
10. Clouds (single version) (Einhorn, Ferreira) 2:42

Mp3:320 Kbps

Cannonball Adderley (alto saxophone)
Bossa Rio Sextet of Brazil:
Sergio Mendes (piano)
Durval Ferreira (guitar)
Octavio Bailly (bass)
Pedro Paulo (trumpet)
Paulo Moura (alto saxophone)
Dom Um Romao (drums)

Nacido en Florida el saxofonista alto Julián Cannonball Adderley distinguido a sí mismo como integrante de Miles Davis (es el notable alto en Kind of Blue) y con grupos de hard-bop que co-conducido con su hermano Nat tocando la corneta. Esta grabación, producida por Orrin Keepnews en 1963 para el sello Riverside, es el desempeño de Adderley en base de composiciones de bossa nova.

Llevados de la mano por Brasil del compositor y pianista Sergio Mendes, y su grupo (con el saxofonista alto Paulo Moura), Adderley y el canto de su saxo y flotantes líneas sobre el sol y el ritmo de Río, dirigido más a Benny Carter que Charlie Parker. Las versiones de Antonio Carlos Jobim de las clásicas "Corcovado" y "Once I Loved" y Joao Donato "Mi sonhos" son comparables a los legendarias grabaciones de Stan Getz de la misma época, mostrando una vez más que el jazz y la música de América del Sur han aprendido mucho unos de otros.