Customer Reviews

African Waltz

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From 1955, with the advent of Rock `N' Roll, the Billboard Top/Hot 100 Pop Charts seldom saw a pure jazz artist make those charts since most preferred lengthy cuts in order to give free rein to the interpretations/improvisations favoured by jazz artists, whether vocal or instrumental, and these were not popular with DJs, particularly those functioning in the 1950s and early 1960s who preferred discs in the 1:50 to 3:00 minute range for their programming.

So, if a jazz artist did want to seek the commercial success of a hit single, they came out with abbreviated versions of some of their best, such as Stan Getz & Charlie Byrd's magnificent # 15 Desafinado in 1962 (2:00), The Ramsey Lewis Trio's # 2 R&B/# 5 Hot 100 The In Crowd in 1965 (3:01), Cozy Cole's # 1 R&B (for 6 weeks)# 3 Hot 100 Topsy II in 1958 (3:32), Stan Getz & Astrud Gilberto's # 5 The Girl from Ipanema in 1964 (2:46), and Cannonall Adderley's # 2 R&B/# 11 Hot 100 Mercy, Mercy, Mercy in 1966 (3:04) - to name just a few.

That last was one of 5 Adderley put onto the lucrative Billboard Pop Hot 100 between 1961 and 1970 and not one was over 3:11. But like most who considered themselves jazz musicians first and foremost, those same tunes were re-recorded - often many times - over the years, and in much longer versions. The trick for collectors of hit single versions is to find those that actually made the charts, and to that end one of the best compilations on the market is Ace of London's The Golden Age Of American Popular Music - The Jazz Hits From The Hot 100 1958-1966, which contains Adderley's Mercy, Mercy, Mercy.

That release also contains a version of African Waltz, but it's the 1961 Johnny Dankworth effort which only made it to # 101 Hot 100 Bubble Under in 1961. Here, on the other hand, you get the 2:08 # 21 R&B# 41 Hot in May 1961 edition by The Cannonball Adderley Orchestra which was released on Riverside 45457 b/w Kelly Blue, also here. When that unexpectedly became a hit, Riverside then rushed out a full album - which is what you get here in this CD with great digitally-remastered sound and liner notes by the noted New York-based writer and jazz record producer Orrin Keepnews.

In time, all range from about 2:00 up to 5:00 minutes, probably in the hope of generating more hit singles. But the only other Riverside cut to become a hit wasn't on that album as The Jive Samba, just 2:18 in length and billed to The Cannonball Adderley Sextet, peaked at # 66 Hot 100 in March 1963 on Riverside 4541 b/w Lillie. That was released after he had moved over to Capitol Records where, in April 1962, he had a # 11 R&B entry under the billing Nancy Wilson And The Julian "Cannonball" Adderley Quintet on capitol 4693 b/w Never Will I Marry.

Then came the above-mentioned Mercy, Mercy, Mercy on Capitol 5798 in early 1967 b/w Games, followed by the May 1967 # 46 R&B/# 73 Hot 100 Why (Am I Treated So Bad?) Which, at 2:59, came out on Capitol 5877 b/w I'm On My Way and, in February 1970, the # 29 R&B/# 86 Hot 100 Country Preacher (3:11) on Capitol 2698 b/w Hummin'.

The problem is to find all six charters and their B-sides in one compilation - so far impossible. In the meantime, this is seemingly the ONLY place you'll find the single version of African Waltz and its B-side on CD.

This is a great chance to hear the great talents of Ernie Wilkins Jr.All the arrangements with the exception of Stockholm Sweetnin'(Quincy Jones,arranged by Bob Brookmeyer),are from his pen.The orchestra is a great one.Cannonball contributes some premium solos over the ingenious ideas and prowess of Wilking's charts.Also, a gorgeous reading by Cannonball on Jerome Kerm's ballad 'Smoke Get's In Your Eyes.On 'Stockholm Sweetnin' Nat,Cannonball's brother,plays with great melodic invention on Brookmeyer's arrangement.There is a great range of ideas presented here.The collaborative effort is of the highest calibre,and very worthy of a careful listening.Enjoy!

|THE ORCHESTRA|
[Personnel]
|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

Made on 2 separate dates in 1961 with a big band, this album is not among Cannonball's best. Almost all the tempos are in the medium range, and the music seems to drag. "West Coast Blues" gets a nice playing, but the album on whole disappoints.

It's often refreshing to hear jazz artists play in an environment different from their norm. That's certainly the case here for the Adderley brothers in a big band setting in this 1961 recording. Nine of the 11 tracks (including one bonus) are arranged by Ernie Wilkins, the other two by Bob Brookmeyer, who also plays trombone on the sessions.
There are several other notables in the ensemble: Clark Terry on trumpet, Jimmy Cleveland on trombone, and a reed section that includes Jerome Richardson and Oliver Nelson. Don Butterfield adds tuba to the standard instrumentation.
Big band lovers will enjoy these very cool arrangements and some nice solo work. "Something Different," "West Coast Blues," "Stockholm Sweetnin'," and "I'll Close My Eyes" are my favorites. Those who are accustomed to hearing the Adderleys in a small group setting may be disappointed that there is no extended solo space. The entire album, including the bonus track, is just under 36 minutes of music. The title track is just two minutes long and has no solos - but does have some noticeable flaws in execution, unlike the other tracks. If these shortcomings are excusable, this is a great listening experience.

Listen to "Stockholm Sweetinin'". Now you know how a Big Band should sound.