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Julian Edwin "Cannonball" Adderley: Cannonball's Bossa Nova

 A l b u m   D e t a i l s

Artist: Julian Edwin "Cannonball" Adderley
Title: Cannonball's Bossa Nova
Released: 2002.09.23
Label: Capitol Records
Time: 45:16
Producer(s): Orrin Keepnews
Appears with:
Category: Jazz
Rating: ******.... (6/10)
Media type: CD
Purchase date:  2003.06.05
Price in €: 9,99
Web address: www.cannonball-adderley.com

 S o n g s ,   T r a c k s


[1] Clouds (D.Ferreira/M.Einhorn) - 4:51
[2] Minha Saudades (Joao Donato) - 2:22
[3] Corcovado (D.Ferreira/M.Einhorn) - 6:43
[4] Batida Diferentes (D.Ferreira/M.Einhorn) - 3:27
[5] Joyce's Sambas (D.Ferreira/M.Einhorn) - 3:12
[6] Groovy Sambas (Sergio Mendes) - 4:59
[7] O Amor Em Paz [Once I Loved] (D.Ferreira/M.Einhorn) - 7:48
[8] Sambops (D.Ferreira/M.Einhorn) - 3:34

Bonus tracks, not on the original issue
[9] Corcovado [alternate take] (Antonio Carlos Jobim) - 5:38
[10] Clouds [Single Version] (D.Ferreira/M.Einhorn) - 2:42

 A r t i s t s ,   P e r s o n n e l


JULIAN "Cannonball" ADDERLEY - Alto Saxophone

SERGIO MENDES - Piano
DURVAL FERREIRA - Guitar
OCTAVIO BAILLY, Jr. - Bass
DOM UM ROMAO - Drums

PAULO MOURA - Alto Saxophone on [2],[4],[5],[7],[8]
PEDRO PAULO - Trumpet on [2],[4],[5],[7],[8]

MICHAEL CUSCUNA - Reissue Producer
ORRIN KEEPNEWS - Liner Notes, Reissue Producer
RAY FOWLER - Recording Engineer
RON MCMASTER - Remastering
KEN DEARDOFF - Oroginal Design
PATRICK ROQUES - Reissue Design

 C o m m e n t s ,   N o t e s


2002 CD TOCJ 9426
1999 CD Capitol Jazz 22667
1962 LP Landmark LLP 1302
1962 LP Riverside 9455



This album, which uniquely combines the talents of an outstanding jazz star with those of an exciting group of young Brazilians, is not only a most fascinating presentation of that irresistible Latin music known as bossa nova. It is also something truly unusual.

Considering how many different combinations and variations have been offered to the public since this latest South American rhythm came surging northward, unusualness is no small claim to make for a bossa nova recording. A great many North American instrumentalists and singers have tried their hands at it (one of the first and most successful, incidentally, being Riverside guitarist Charlie Byrd). South American records have been issued here; individual Brazilian guest stars have been featured with strictly-U.S.A. groups; and so on. Nevertheless, it seems quite accurate to state that there is nothing like this particular album, on which the brilliant alto saxophone of Cannonball Adderley is so ably supported by Sergio Mendes' Bossa Rio group.

From the evidence on this record - beginning with Cannonball's first soaring notes on the haunting Clouds - it would almost seem that bossa nova was created to be played by Adderley. Or at least to be played by him with the accompaniment he has here. And the key to the success of this intriguing merger is - from both directions - jazz. One notable feature of the vast popularity of bossa nova in this country has been the way in which it has been adopted by jazz artists, who have been its most effective exponents. On the other hand, as musicians who have toured in South America have discovered, the recent influence of our jazz on the music of that continent (and especially in Brazil) has been extremely strong. One result of this has been the emergence of such a group as the highly jazz-indoctrinated Bossa Rio.

So, one night at Birdland when I found Cannonball surrounded by a half-dozen eager young men, they turned out to be not (as it first seemed) local fans, but Brazilian musicians. The Bossa Rio had come to New York only for a single concert appearance, but their enthusiasm for his music led Cannon to quickly arrange for a private hearing of their music. He was immediately taken with the idea of recording with them, a suggestion that they welcomed wildly.

Adderley's approach here is to deal entirely with Brazilian material - he swiftly rejected as artificial any thought of twisting either pop standards or jazz originals into a bossa nova format. However, jazz is obviously and happily implicit throughout the album - not only because of the presence of Cannonball, but also because of the musical nature of the Bossa Rio group, which includes a drummer who had a lot of New York drummers talking to themselves and is led by a pianist who would seem to have done a lot of valuable listening to Horace Silver discs (and who kept asking me for copies of Bill Evans albums).

Thus the two elements involved in this merger found their highly effective common meeting ground: Adderley moving towards the young Brazilian by utilizing their kind of material (specifically, five of the numbers are partly or entirely written by members of the band), and they moving towards him through their admiration for him and through their own rather remarkable jazz spirit and ability. It comes closest to a 'pure' jazz feeling on a tune like Mendes' soulfully swinging Groovy Samba; it reaches a universally appealing lyricism on selections like guitarist Ferreira's Clouds and Antonio Carlos Jobim's Corcovado. And at all times it offers thoroughly enjoyable examples of the adventure described by the title of another of Ferreira's compositions: an intriguing encounter with a "batida differente" - a truly "different beat".

Orrin Keepnews
Liner notes from the Original LP issued in 1962



A pleasant date recorded in late 1962 with South American musicians the Bossa Rio Sextet of Brazil. Cannonball is heard alongside Sergio Mendes on piano, future Weather Report percussionist Dom Um Romao, and featured on five cuts is Paulo Moura on alto saxophone with Pedro Paulo on trumpet. Unfortunately this release contains little fire, as Adderley didn't get much rehearsal time with these musicians. Combined with the repetitious nature of the Bossa Nova these proceedings can get tedious. This session was originally released on Riverside, but Adderley took several master tapes (including this one) when he made his move to Capitol.

Al Campbell - All-Music Guide, © 1992 - 2003 AEC One Stop Group, Inc.



Zusammen mit dem brasilianischen Bossa Rio Sextet unter Leitung von Pianist Sergio Mendes (!) hören wir hier feinsten Bossa Nova. Rauer und ungeschliffener als Kollege Stan Getz, zum Glück, fegt Adderley hier durch die Changes, traumhaft unterstützt von den federleichten BossaBeats des Schlagzeugers Dom Um Romao.

M. Möhring in Jazzthetik 4/2000



Florida-born alto saxophonist Julian Cannonball Adderley distinguished himself as a member of Miles Davis's groups (he's the sultry alto on Kind of Blue) and with the hard-bop ensembles he co-led with his cornet-playing brother Nat. This recording, produced by Orrin Keepnews in 1963 for the Riverside label, features Adderley performing bossa nova-based compositions. Anchored by Brazilian composer and pianist Sergio Mendes's band (with alto saxophonist Paulo Moura), Adderley's singing sax lines float over the sunny Rio rhythms, owing more to Benny Carter than Charlie Parker. The renditions of Antonio Carlos Jobim's standards "Corcovado" and "Once I Loved" and Joao Donato's "Minha Saudades" are comparable to Stan Getz's Legendary records from the same period, showing anew that jazz and South American music have learned much from each other.

Eugene Holley Jr. - Amazon.com



In 1962, a group of young Brazilian musicians, in New York for a one-night stand, made a pilgrimage to Birdland to catch jazz legend Julian "Cannonball" Adderley. They ended up in the studio with him, with results documented on this reissue. Adderley's alto-sax musings on a sunny selection of Brazilian material float above the swaying rhythms of the sextet, whose leader, pianist Sergio Mendes, sounds like a disciple of Horace Silver here. Drummer Dom Um Romao provides understated underpinning, while guitarist Durval Ferreira (who contributes five compositions) injects a subtle samba flair. Highlights include Ferreira's "Clouds," Mendes' "Groovy Sambas" and Antonio Carlos Jobim's "Corcovado" and "O Amor Em Paz." The bossa explorations of Stan Getz may be better known, but Adderley's swinging fusion of bebop, blues and gospel-one of the most soulful, spirited and distinctive sounds in modern jazz-lends an eternal freshness to the Brazilian sound.

Amazon.com



In 1962, a group of young Brazilian musicians, in New York for a one-night stand, made a pilgrimage to Birdland to catch jazz legend Julian "Cannonball" Adderley. They ended up in the studio with him, with results documented on this reissue. Adderley's alto-sax musings on a sunny selection of Brazilian material float above the swaying rhythms of the sextet, whose leader, pianist Sergio Mendes, sounds like a disciple of Horace Silver here. Drummer Dom Um Romao provides understated underpinning, while guitarist Durval Ferreira (who contributes five compositions) injects a subtle samba flair. Highlights include Ferreira's "Clouds," Mendes' "Groovy Sambas" and Antonio Carlos Jobim's "Corcovado" and "O Amor Em Paz." The bossa explorations of Stan Getz may be better known, but Adderley's swinging fusion of bebop, blues and gospel-one of the most soulful, spirited and distinctive sounds in modern jazz-lends an eternal freshness to the Brazilian sound.

From Rhythm Magazine
 

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