- Original Release Date: March 9, 1999
- Release Date: March 9, 1999
- Label: Blue Note Records
- Copyright: (C) 1999 Blue Note Records
- Duration: 10:59 minutes
- Genres:
- ASIN: B000TEKD5Y
- Average Customer Review: 3.7 out of 5 stars See all reviews (3 customer reviews)
- Amazon Best Sellers Rank: #105,676 Paid in MP3 Songs (See Top 100 Paid in MP3 Songs)
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| Song Title | Artist | Time | Price | ||
|---|---|---|---|---|---|
| Play | Autumn Leaves | Cannonball Adderley | 10:59 | $1.99 |
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars
Simply a brilliant solo by Cannonball--a bonafide game-changer.
September 26, 2012
After the death of Charlie Parker there were still plenty of ace alto saxophonists on the scene--Sonny Stitt (I've met many jazz followers who liked him more than Bird), Phil Woods, Art Pepper (whose goal was to be "the best there ever was"), the simply overpowering Oliver Nelson, the lyrically-supreme Paul Desmond. But it was Cannonball Adderley, who shortly after his first appearance in NYC, set off vibrations that were sensed practically instantly by Miles Davis, who was sufficiently impressed to expand his quintet with Coltrane and Bill Evans to a sextet, simply to make room for Cannon's "preaching, soulful" sound (an earthy, melodic complement to Coltrane's other-worldly, rhapsodic and always "searching" harmonic experimentation). All Miles had to do before completing his new sextet was introduce Cannonball to the greater public, officially annointing him as "the chosen one." He did so by: 1. advising Cannonball to make his next album for the respected, cultish Blue Note label; 2. including himself as a "secondary" musician on the date to prove his seriousness about his latest discovery--in other words, using his presence as an endorsement from the musician who, after Dizzy Gillespie went his own way, had been the most frequent collaborator with the mythical Charlie Parker, the greatest improviser in jazz history.
Miles' confidence is fully supported on the opening track, "Autumn Leaves," which contains the most brilliant solo of any altoist--if not instrumentalist--who has played this frequently performed standard. Never had Cannonball's horn sounded as full, natural, up-close and personal as on this Van Gelder-engineered session, and Cannonball takes full advantage of the circumstance by exploring the lowest register of his instrument as well as the altissmo register. Moreover, the featured soloist includes trills, elliptical leaps between extreme registers of the horn, and rhythmic liberties that had not been heard from any predecessor, including Bird. Most importantly, despite the daring, the surprises, the risk-taking on Cannonball's part--and in the company of the knowing, watchful Miles Davis--the Florida high-school band-director who was about to become a major jazz star sounds completely relaxed--perhaps the advantage of not having as yet been subjected to the pressure-cooker life-style of playing jazz in NYC and trying to make a living at it. His solo is as seductive and immediately accessible as it is adventurous and head-spinning. Somehow Cannonball makes it all sound easy and completely coherent. Even though I have over a hundred Sonny Stitt albums and though I'm usually knocked out every time Oliver Nelson plays, Cannonball more than supports the frequent description of him, by music critics and jazz followers of the day, as "Somethin' Else," as a genuine and worthy successor to Charlie Parker if not the "new Bird."
Play this track--and at the end of Cannonball's solo (no need to play beyond it), stop and play it again. Then play it again, and at the end of the solo, stop and simply meditate on what you've just heard. You may never have another occasion for doing so.
Miles' confidence is fully supported on the opening track, "Autumn Leaves," which contains the most brilliant solo of any altoist--if not instrumentalist--who has played this frequently performed standard. Never had Cannonball's horn sounded as full, natural, up-close and personal as on this Van Gelder-engineered session, and Cannonball takes full advantage of the circumstance by exploring the lowest register of his instrument as well as the altissmo register. Moreover, the featured soloist includes trills, elliptical leaps between extreme registers of the horn, and rhythmic liberties that had not been heard from any predecessor, including Bird. Most importantly, despite the daring, the surprises, the risk-taking on Cannonball's part--and in the company of the knowing, watchful Miles Davis--the Florida high-school band-director who was about to become a major jazz star sounds completely relaxed--perhaps the advantage of not having as yet been subjected to the pressure-cooker life-style of playing jazz in NYC and trying to make a living at it. His solo is as seductive and immediately accessible as it is adventurous and head-spinning. Somehow Cannonball makes it all sound easy and completely coherent. Even though I have over a hundred Sonny Stitt albums and though I'm usually knocked out every time Oliver Nelson plays, Cannonball more than supports the frequent description of him, by music critics and jazz followers of the day, as "Somethin' Else," as a genuine and worthy successor to Charlie Parker if not the "new Bird."
Play this track--and at the end of Cannonball's solo (no need to play beyond it), stop and play it again. Then play it again, and at the end of the solo, stop and simply meditate on what you've just heard. You may never have another occasion for doing so.
1 of 1 people found the following review helpful
By N. Burlakoff
Amazon Verified Purchase
There is little to say about this recording, except that it is superb in every way. The musicians involved are at the very least demi-gods of jazz, and this set is a particularly fortunate manifestation of their talents. My only criticism goes to modern marketing in that, if you purchase a cut from the recording as an MP-3 from Amazon you will not be able to use it as a background for a slide show on YouTube.
Amazon Verified Purchase
I think the title says it all. I don't know if Apple or Amazon is at fault, but I don't want to screw around figuring who is the culprit.
