Customer Reviews

Cannonball's Bossa Nova

5 star:		(12)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

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!!!

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.

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.

This was the very first jazz album I bought, in 1965. It is just an incredible example of the greatness of Cannonball. He takes on some hard-to-play songs, and wails all over them! Just his huge, gorgeous sound is enough reason to buy this album, but the hipness of his note selection puts it way over the top. Because the music is so beautiful, it is a good album to have on for background music, even though it is totally jammin'. It still remains one of my all-time favorite albums, even after 35 years.

I first got this one in '68, and over thirty years later I still love it.

Sergio Mendes and his group visited New York shortly after Charlie Byrd and Stan Getz recorded Jazz Samba in '62, and were lucky enough to get a recording gig with Cannonball Adderley!

There's not a bad song on the album. Highly recommended.

One of the most serious and delicious albums on Jazz Bossa Nova to be listened to, originally entitled "Bossa Nova with Cannonball Adderley and Sergio Mendes' Bossa Rio Sextet" on Capitol Records. Maybe it's a long title but certainly more adequate. This is, first of all, Sergio Mendes with his famous jazzy Bossa Rio Sextet. Here, Cannonball Adderley should be fairly taken as a featured artist and oh what a big sideman and soloist. He's blowing his cannon as ever. It's a sensibility party. It's madantory of a serious Bossa Nova collection. Also features Durval Ferreira on acoustic guitar; he's one of the most important Bossa Nova composers. Pay attention to his guitar phrases and basis. All stars. Buy now!

First got this LP in the late sixties while in college and it quickly became one of my favorites.However,like most of my favorites,it suffered from scratches and skips due to its frequent use. I have been looking for this CD to replace the LP since the late '80s and my search has finally ended. This is without a doubt one of the best jazz saxophone recordings ever,played by real musicians on real instruments. NOT A BAD SELECTION IN THE BUNCH! ENJOY!

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 wich 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 wich 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 to it!!! ASAP!!!

Looked far and wide and found the Cannonball/Sergio Mendez Corcovado recording on an Ultra-lounge Bossa Novaville album. The Corcovado solo is transcribed in a Cannonball Jazz instruction book. Thank goodness the full original album is back!

This album originally recorded in 1962 and under the title "Cannonball Adderley and the Bossa Rio Sextet with Sergio Mendes" (and with a totally different album cover as well), here, very well remastered via import in 1999, presents one of the best collaborations between North American jazzists and Brazilian Bossa Nova musicians in the 60's.
In that category we have (among many others): Stan Getz-Joao Gilberto, Paul Winter-Carlos Lyra, Charlie Byrd-Luiz Bonfa, Frank Sinatra-Antonio Carlos Jobim and many more; but this recording, was one of the earliest ones and one of the best ones IMO, presenting a very rare but exquisite balance between Jazz techniques and Bossa Nova rhythms, playing exclusively Bossa Nova standards on both upbeat and downbeat tempos, and equally beautiful performances.
The group is just flawless:
- Cannonball Adderley in his always awesome Alto Sax
- Sergio Mendes on Piano in one of his earliest professional recordings
- Dom Um Romao on Drums (afterward he went on to play for Sergio in his groups and with Weather Report)
- Durval Ferreira on Guitar and compositions (the guitarist and songwriter from Tamba Trio)
- Octavio Bailly Jr. on Bass (bassist with the awesome Bossa Tres)
- Pedro Paulo on Trumpet
and
- Paulo Moura on Alto Sax (an already great sax player as well).

This album is without a doubt a true collectible and a historical landmark for jazz, bossa nova and bossa-jazz aficionados.
P.S. Here you have 2 bonus tracks not included in the original LP, making this recording even more special.