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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.
Product Description
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.
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Customer Reviews
Most Helpful Customer Reviews
15 of 15 people found the following review helpful
Format:Audio CD
Murray dug out his vinyl copy of this a few years ago, with 'My Favourite Album Ever' written on the cover in biro. He used to sit in his deckchair in his front room listening to it. I had never heard it. From the first notes, I was entranced. This is a magnificently subtle, understated blend of the two Americas. Cannonball's sax is the lead player, but never overblown. Floating, winding, ebbing & flowing, passionately controlled, he dances with the Bossa Rio Sextet in the sunshine of their sublime, joyfully disciplined rhythms. This is an unselfconscious love affair. Buy yourself a deckchair, allow these craftsmen to play and relax - everything, but everything is taken care of.
1 of 1 people found the following review helpful
Format:Audio CD
Cannonball seems to be one of those musicans wh can turn his hand to most styles.If you like Jazz you will love this .and if you dont ,you will probably love it anyway.
songs like sambop and o amor em pas show the fluid style of cannonball , Also featuring Nat Adderley and the bossa rio sextet .
songs like sambop and o amor em pas show the fluid style of cannonball , Also featuring Nat Adderley and the bossa rio sextet .
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
15 reviews
26 of 28 people found the following review helpful
Cannonball's Bossa Nova -corrected
28 Dec 2001
Format:Audio CD
The Jazz-Samba genre, very expressive in the 60's, was inauurated, in Brazil, by Meirelles and the Copa 5 group, in the famous record with Luiz Carlos Vinhas and Pedro Paulo (piano and trumpet). In United States, the genre came in 1962 with Stan Getz and Charlie Byrd with the excellent "Jazz Samba", in which some brazilian music's pearls are explored with the sophistication of the guitar-tenor saxophone combination. The Getz's soft tone sound and the Byrd's complex and melodic improvisations contributed to this. It is irrefutable that the peak of this brazilian music fashion in USA came in 1963, with "Getz/Gilberto", in which the samba's broken rithmys, that was a non-solved problem in Jazz Samba, are well managed by Milton Banana.
Following this line, "Cannonball's Bossa Nova" record brings a experienced drummer, Dom Um Romão, who also is present in the Sinatra/ Tom Jobim record. This secure rhytmic support is noticed too in the Durval Ferreira's accompaniment, simple and, so, beatiful. With Sergio Mendes, about his short solos, we have a paralell in the minimalistic improvisation of Jobim. This cool touch it's well perceived in Jobim's solos in the music "O Grande Amor" (Getz/Gilberto) and in the record "The Composer of Desafinado Plays" (1963), in which, almost always, only the right hand is used. Cannonball, a high quality saxophonist, complete the group. His perfect technique allows the full exploration of his musical ideas. His extrem softness and potent sonority (remembers Getz sometimes) and his bebop/bluesy musical speech, Charlie Parker's heritage, are perfect not to a bossa nova record, but for a jazz/bossa approach.
The entire record gets a fine taste, but "Amor em Paz (Once I Loved)", lovely Jobim's melody, shows the great artist who is Cannonball Adderley. Not in his "soul music" incursions, but in his great and pungent lyrical sense that he gives to the ballads ("Stars Fell in Alabama", in the "C.A Quintet in Chicago", 1959, is my preferred). It is almost irresistible to compare Corcovado (Quiet Nights) in this record with Getz/Gilberto record, but both are great, each one with his qualities. For the jazz lovers and for the brazilian music lovers this record is, farther indispensable, a great joy, a great example of good music, a... so, listen it!!! ASAP!!!
Following this line, "Cannonball's Bossa Nova" record brings a experienced drummer, Dom Um Romão, who also is present in the Sinatra/ Tom Jobim record. This secure rhytmic support is noticed too in the Durval Ferreira's accompaniment, simple and, so, beatiful. With Sergio Mendes, about his short solos, we have a paralell in the minimalistic improvisation of Jobim. This cool touch it's well perceived in Jobim's solos in the music "O Grande Amor" (Getz/Gilberto) and in the record "The Composer of Desafinado Plays" (1963), in which, almost always, only the right hand is used. Cannonball, a high quality saxophonist, complete the group. His perfect technique allows the full exploration of his musical ideas. His extrem softness and potent sonority (remembers Getz sometimes) and his bebop/bluesy musical speech, Charlie Parker's heritage, are perfect not to a bossa nova record, but for a jazz/bossa approach.
The entire record gets a fine taste, but "Amor em Paz (Once I Loved)", lovely Jobim's melody, shows the great artist who is Cannonball Adderley. Not in his "soul music" incursions, but in his great and pungent lyrical sense that he gives to the ballads ("Stars Fell in Alabama", in the "C.A Quintet in Chicago", 1959, is my preferred). It is almost irresistible to compare Corcovado (Quiet Nights) in this record with Getz/Gilberto record, but both are great, each one with his qualities. For the jazz lovers and for the brazilian music lovers this record is, farther indispensable, a great joy, a great example of good music, a... so, listen it!!! ASAP!!!
12 of 12 people found the following review helpful
Swings So Cool, Sways So Gently
9 Dec 2001
Format:Audio CD
Comprised of ten tracks from a late 1962 session with Brazil's Bossa Rio Sextet, Cannonball's sax soars and melts through some of the most beautiful music ever recorded, and the Bossa Rio, held strong throughout by drummer Dom Um Romao and then-unknown pianist Sergio Mendes, meets the challenge head-on.
"Batida Diferentes" is the epitome of that '60s cool bossa nova sound, and sums up the whole wave in its title, which translates as "different beat." The disc's most addictive track is Mendes' "Groovy Sambas," a madly swinging concoction that introduces Adderley's blues-drenched style to the bossa. However, the gold lies in the ballads. The opener "Clouds" is pure, undiluted heaven, chorus after ocean-blue chorus pouring from Cannonball's sax. He caresses the glowing violet hues of "Corcovado" with lovely ease. Close your eyes, and the restrained affection of "Joyce's Sambas" will transport you to the breezy shores of Rio.
Not a single bad track, and Cannonball's rich sound is beautifully supported by the very able Bossa Rio Sextet. A good unconventional introduction to jazz for someone new to the genre, and a great intro to the bossa nova sound. Nice updated liner notes by Orrin Keepnews and a breathtaking cover photo add to the quality. Equally good for a day at the beach, a summer backyard party (for some retro fun), or a rainy afternoon relaxation, Cannonball's Bossa Nova is not one of those CDs you buy and then forget about. Like the very best, it only gets better with every listen.
13 of 14 people found the following review helpful
A nice surprise
2 May 2003
Format:Audio CD
I've always been a fan of Cannonball's standard jazz work (esp. with Miles Davis), so I was delighted to hear about this CD. I'm also a fan of Sergio Mendes who plays piano on this CD. The first cut is very carefree and makes me feel as if I'm walking along the sandy beaches of Brazil. A wonderful intro to Sergio Mendes. It's a good buy.
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