View allAll Photos Tagged CannonballAdderley,
The original clip runs past the 10min video length limit set by Flickr, so here is the missing Coda from the prior post.
There is a gravel track that heads north from the San Chuan de Plan /Chistan junction, up the Chistau in the direction of the great lost peaks of Bachimala, Culfreda and Lustou. A family and rural path follows the river and the variety of trees is documented with panels. The film features the water and the autumn leaves.
The track is from 'Somethin' Else' (1958), the first of a diptych of visual musical sounds that ended with Miles Davis's 'Kind of Blue' (1959) marking the focal point for today's understanding of 'Cool Jazz'. For the record, Davis gave Adderley the headline for what would be Adderley's only Bluenote release. Davis leads on trumpet and Adderley follows with his Alto Sax solo, and this alone merits the name of the record, and can only be described as 'Somethin' Else'. Hank Jones on piano could probably have enjoyed another take to keep up with the level set and Art Blakey sets the tone with some intimate tapping and subdued reflections.
The song as cropped for being over 10minutes log and the final Coda can be seen/heard on the adjacent post.
AJM 03.12.21
Picked this up in the $1 each stack at a Wednesday estate sale!
Released in 1959, with John Coltrane.
For my friend Professor Bop / a.k.a. Dr. Jazz: www.flickr.com/photos/professorbop/
www.youtube.com/watch?v=pBpLKm8vw4M
"...there was nobody else named Miles...and there was nobody doing what he was doing the way he was doing it......." Ed Bradley
OK, how can it get better? A sunny afternoon in a quiet park, some charcoal sketching and Cannonball Adderley playing on the iPhone. The iPhone's built-in speakers are just right for some not-annoying-for-everyone-else tunes to play whilst scribbling.
Well I guess it would be better if I could draw, but what the heck - I enjoyed it all the same.
Julian Cannonball Adderley - And Strings Vinyl LP Record For Sale recordsalbums.com/cannonball-adderley-vinyl/2075-julian-c... #Cannonball #CannonballAdderley #JulianAdderley #JulianCannonballAdderley #Jazz #JazzLPs #JazzRecords #JazzAlbums #JazzVinyl #CannonballAdderleyLPs #CannonballAdderleyVinyl #CannonballAdderleyRecords #CannonballAdderleyAlbums
Cannonball Adderley.
Scans from Nights in Birdland: Jazz Photographs 1954-1960, Carole Reiff. Fireside Books: NYC, 1987.
Melvin Moore, trumpet • Gene "Mighty Flea" Connors, trombone • Presten Love, alto and baritone saxes • Richard Aplanalp, soprano and tenor saxes • Clifford Solomon, tenor sax (all tenor solos) • Big Jim Wynn, baritone sax • Shuggie Otis, guitar (Pee Wee Crayton on "The Things I Used To Do") • Jim (Supe) Bradshaw, rhythm guitar (solo on "Good rockin' Tonight"); harp • Johnny Otis, Roger Spotts, Leonard Feather, piano (Ivory Joe Hunter on "Since I Met you Baby") • Lawrence Slim Dickens, Shuggie Otis, bass • Paul Lagos, drums • Johnny Otis, vibes • Eddie "Cleanhead" Vinson, alto sax and vocals • Johnny Otis, Esther Phillips, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Margie Evans, Delmar "Mighty Mouth" Evans, vocals.
Here is Leonard Feather's take on it:
The Historic Rhythm & Blue Extravaganza That Rocked the 1970 Monterey Jazz Festival
The blues never has been, to my recollection, the occasion for a more joyous celebration of its uniquely vibrant spirit than on a certain day in the late summer of 1970, when Johnny Otis brought his entire azure-indigo caravan of giants to spread their talents over an afternoon on the fairgrounds at Monterey, California.
Here was the consummate proof that where today's music may set up communication and generation gaps, the blues destroys them. On stage, where Shuggie Otis, 16; rhythm guitarist Jim (Supe) Bradshaw, 23; singers Margie Evans and Delmar "Mighty Mouth" (no relation) Evans, both in their 20's; and the rest of the singing and blowing battalion representing every decade on up to Pee Wee Crayton and Big Joe Turner, both in their very late 50's, and Roy Milton, who's up there at the Social Security borderline.
The same with the roaring receptive, over capacity audience. Those who stood up on their seats hollering and testifying, or boogalooed along the aisles, were mostly in the 15-25 bracket, while others, less extroverted, exchanged reminiscences about the first time they had heard the call of the blues, perhaps at some half-remembered dance in the 30's, or on a 78 record player at high school in the 40's and 50's.
That's what this album is all about. This is no gallery of museum pieces set up to rekindle a lost past, no futile exercise in nostalgia; instead it is a meeting ground were ages, races, and backgrounds coalesce, where grooving together is all that matters.
All the other instrumental touches are emotionally strong, tonally robust products of the synthesis forged during the 1940s between jazz and R&B.
Through it all, Johnny Otis remains in firm control, opening the show by reviving his 1958 hit "Willie And The Hand Jive;" soloing and comping on vibes or piano, emceeing and directing his exuberant band through its casual, largely spontaneous arrangements.
There was a lot of love in the air that day. We all felt it, exchanged not only among musicians and singers, but from bandstand to audience and back. Wondering one moment why so many of the true blues pioneers had been short-changed by society, you asked yourself the next minute how a Shuggie Otis or a Supe Bradshaw could align himself so naturally with a music some thought was obsolescent.
On this day the vitality of the blues ws triumphantly reaffirmed. It happened in Monterey-and not long ago. Thanks to Johnny Otis, who put it all together, and the festival's Jimmy Lyons, who brought it onstage, the whole world of the blues burst on us like sunshine on that bright September afternoon.
- Leonard Feather
(Author of The New Encyclopedia of Jazz)
Melvin Moore, trumpet • Gene "Mighty Flea" Connors, trombone • Presten Love, alto and baritone saxes • Richard Aplanalp, soprano and tenor saxes • Clifford Solomon, tenor sax (all tenor solos) • Big Jim Wynn, baritone sax • Shuggie Otis, guitar (Pee Wee Crayton on "The Things I Used To Do") • Jim (Supe) Bradshaw, rhythm guitar (solo on "Good rockin' Tonight"); harp • Johnny Otis, Roger Spotts, Leonard Feather, piano (Ivory Joe Hunter on "Since I Met you Baby") • Lawrence Slim Dickens, Shuggie Otis, bass • Paul Lagos, drums • Johnny Otis, vibes • Eddie "Cleanhead" Vinson, alto sax and vocals • Johnny Otis, Esther Phillips, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Margie Evans, Delmar "Mighty Mouth" Evans, vocals.
Here is Leonard Feather's take on it:
The Historic Rhythm & Blue Extravaganza That Rocked the 1970 Monterey Jazz Festival
The blues never has been, to my recollection, the occasion for a more joyous celebration of its uniquely vibrant spirit than on a certain day in the late summer of 1970, when Johnny Otis brought his entire azure-indigo caravan of giants to spread their talents over an afternoon on the fairgrounds at Monterey, California.
Here was the consummate proof that where today's music may set up communication and generation gaps, the blues destroys them. On stage, where Shuggie Otis, 16; rhythm guitarist Jim (Supe) Bradshaw, 23; singers Margie Evans and Delmar "Mighty Mouth" (no relation) Evans, both in their 20's; and the rest of the singing and blowing battalion representing every decade on up to Pee Wee Crayton and Big Joe Turner, both in their very late 50's, and Roy Milton, who's up there at the Social Security borderline.
The same with the roaring receptive, over capacity audience. Those who stood up on their seats hollering and testifying, or boogalooed along the aisles, were mostly in the 15-25 bracket, while others, less extroverted, exchanged reminiscences about the first time they had heard the call of the blues, perhaps at some half-remembered dance in the 30's, or on a 78 record player at high school in the 40's and 50's.
That's what this album is all about. This is no gallery of museum pieces set up to rekindle a lost past, no futile exercise in nostalgia; instead it is a meeting ground were ages, races, and backgrounds coalesce, where grooving together is all that matters.
All the other instrumental touches are emotionally strong, tonally robust products of the synthesis forged during the 1940s between jazz and R&B.
Through it all, Johnny Otis remains in firm control, opening the show by reviving his 1958 hit "Willie And The Hand Jive;" soloing and comping on vibes or piano, emceeing and directing his exuberant band through its casual, largely spontaneous arrangements.
There was a lot of love in the air that day. We all felt it, exchanged not only among musicians and singers, but from bandstand to audience and back. Wondering one moment why so many of the true blues pioneers had been short-changed by society, you asked yourself the next minute how a Shuggie Otis or a Supe Bradshaw could align himself so naturally with a music some thought was obsolescent.
On this day the vitality of the blues ws triumphantly reaffirmed. It happened in Monterey-and not long ago. Thanks to Johnny Otis, who put it all together, and the festival's Jimmy Lyons, who brought it onstage, the whole world of the blues burst on us like sunshine on that bright September afternoon.
- Leonard Feather
(Author of The New Encyclopedia of Jazz)
I might do a third Cannonball one, the New York album is too good not to revisit. This cover's got a bit of a Chamber of Commerce feel to it.
Melvin Moore, trumpet • Gene "Mighty Flea" Connors, trombone • Presten Love, alto and baritone saxes • Richard Aplanalp, soprano and tenor saxes • Clifford Solomon, tenor sax (all tenor solos) • Big Jim Wynn, baritone sax • Shuggie Otis, guitar (Pee Wee Crayton on "The Things I Used To Do") • Jim (Supe) Bradshaw, rhythm guitar (solo on "Good rockin' Tonight"); harp • Johnny Otis, Roger Spotts, Leonard Feather, piano (Ivory Joe Hunter on "Since I Met you Baby") • Lawrence Slim Dickens, Shuggie Otis, bass • Paul Lagos, drums • Johnny Otis, vibes • Eddie "Cleanhead" Vinson, alto sax and vocals • Johnny Otis, Esther Phillips, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Margie Evans, Delmar "Mighty Mouth" Evans, vocals.
Here is Leonard Feather's take on it:
The Historic Rhythm & Blue Extravaganza That Rocked the 1970 Monterey Jazz Festival
The blues never has been, to my recollection, the occasion for a more joyous celebration of its uniquely vibrant spirit than on a certain day in the late summer of 1970, when Johnny Otis brought his entire azure-indigo caravan of giants to spread their talents over an afternoon on the fairgrounds at Monterey, California.
Here was the consummate proof that where today's music may set up communication and generation gaps, the blues destroys them. On stage, where Shuggie Otis, 16; rhythm guitarist Jim (Supe) Bradshaw, 23; singers Margie Evans and Delmar "Mighty Mouth" (no relation) Evans, both in their 20's; and the rest of the singing and blowing battalion representing every decade on up to Pee Wee Crayton and Big Joe Turner, both in their very late 50's, and Roy Milton, who's up there at the Social Security borderline.
The same with the roaring receptive, over capacity audience. Those who stood up on their seats hollering and testifying, or boogalooed along the aisles, were mostly in the 15-25 bracket, while others, less extroverted, exchanged reminiscences about the first time they had heard the call of the blues, perhaps at some half-remembered dance in the 30's, or on a 78 record player at high school in the 40's and 50's.
That's what this album is all about. This is no gallery of museum pieces set up to rekindle a lost past, no futile exercise in nostalgia; instead it is a meeting ground were ages, races, and backgrounds coalesce, where grooving together is all that matters.
All the other instrumental touches are emotionally strong, tonally robust products of the synthesis forged during the 1940s between jazz and R&B.
Through it all, Johnny Otis remains in firm control, opening the show by reviving his 1958 hit "Willie And The Hand Jive;" soloing and comping on vibes or piano, emceeing and directing his exuberant band through its casual, largely spontaneous arrangements.
There was a lot of love in the air that day. We all felt it, exchanged not only among musicians and singers, but from bandstand to audience and back. Wondering one moment why so many of the true blues pioneers had been short-changed by society, you asked yourself the next minute how a Shuggie Otis or a Supe Bradshaw could align himself so naturally with a music some thought was obsolescent.
On this day the vitality of the blues ws triumphantly reaffirmed. It happened in Monterey-and not long ago. Thanks to Johnny Otis, who put it all together, and the festival's Jimmy Lyons, who brought it onstage, the whole world of the blues burst on us like sunshine on that bright September afternoon.
- Leonard Feather
(Author of The New Encyclopedia of Jazz)
Lennie's on the Turnpike
Newbury Street (Route 1)
Peabody, Massachusetts
The postcards were sent to everyone on Lennie's mailing list
September 1967
Citation: Lennie's on the Turnpike Collection, Salem State University Archives and Special Collections, Salem, Massachusetts
Melvin Moore, trumpet • Gene "Mighty Flea" Connors, trombone • Presten Love, alto and baritone saxes • Richard Aplanalp, soprano and tenor saxes • Clifford Solomon, tenor sax (all tenor solos) • Big Jim Wynn, baritone sax • Shuggie Otis, guitar (Pee Wee Crayton on "The Things I Used To Do") • Jim (Supe) Bradshaw, rhythm guitar (solo on "Good rockin' Tonight"); harp • Johnny Otis, Roger Spotts, Leonard Feather, piano (Ivory Joe Hunter on "Since I Met you Baby") • Lawrence Slim Dickens, Shuggie Otis, bass • Paul Lagos, drums • Johnny Otis, vibes • Eddie "Cleanhead" Vinson, alto sax and vocals • Johnny Otis, Esther Phillips, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Margie Evans, Delmar "Mighty Mouth" Evans, vocals.
Here is Leonard Feather's take on it:
The Historic Rhythm & Blue Extravaganza That Rocked the 1970 Monterey Jazz Festival
The blues never has been, to my recollection, the occasion for a more joyous celebration of its uniquely vibrant spirit than on a certain day in the late summer of 1970, when Johnny Otis brought his entire azure-indigo caravan of giants to spread their talents over an afternoon on the fairgrounds at Monterey, California.
Here was the consummate proof that where today's music may set up communication and generation gaps, the blues destroys them. On stage, where Shuggie Otis, 16; rhythm guitarist Jim (Supe) Bradshaw, 23; singers Margie Evans and Delmar "Mighty Mouth" (no relation) Evans, both in their 20's; and the rest of the singing and blowing battalion representing every decade on up to Pee Wee Crayton and Big Joe Turner, both in their very late 50's, and Roy Milton, who's up there at the Social Security borderline.
The same with the roaring receptive, over capacity audience. Those who stood up on their seats hollering and testifying, or boogalooed along the aisles, were mostly in the 15-25 bracket, while others, less extroverted, exchanged reminiscences about the first time they had heard the call of the blues, perhaps at some half-remembered dance in the 30's, or on a 78 record player at high school in the 40's and 50's.
That's what this album is all about. This is no gallery of museum pieces set up to rekindle a lost past, no futile exercise in nostalgia; instead it is a meeting ground were ages, races, and backgrounds coalesce, where grooving together is all that matters.
All the other instrumental touches are emotionally strong, tonally robust products of the synthesis forged during the 1940s between jazz and R&B.
Through it all, Johnny Otis remains in firm control, opening the show by reviving his 1958 hit "Willie And The Hand Jive;" soloing and comping on vibes or piano, emceeing and directing his exuberant band through its casual, largely spontaneous arrangements.
There was a lot of love in the air that day. We all felt it, exchanged not only among musicians and singers, but from bandstand to audience and back. Wondering one moment why so many of the true blues pioneers had been short-changed by society, you asked yourself the next minute how a Shuggie Otis or a Supe Bradshaw could align himself so naturally with a music some thought was obsolescent.
On this day the vitality of the blues ws triumphantly reaffirmed. It happened in Monterey-and not long ago. Thanks to Johnny Otis, who put it all together, and the festival's Jimmy Lyons, who brought it onstage, the whole world of the blues burst on us like sunshine on that bright September afternoon.
- Leonard Feather
(Author of The New Encyclopedia of Jazz)
Melvin Moore, trumpet • Gene "Mighty Flea" Connors, trombone • Presten Love, alto and baritone saxes • Richard Aplanalp, soprano and tenor saxes • Clifford Solomon, tenor sax (all tenor solos) • Big Jim Wynn, baritone sax • Shuggie Otis, guitar (Pee Wee Crayton on "The Things I Used To Do") • Jim (Supe) Bradshaw, rhythm guitar (solo on "Good rockin' Tonight"); harp • Johnny Otis, Roger Spotts, Leonard Feather, piano (Ivory Joe Hunter on "Since I Met you Baby") • Lawrence Slim Dickens, Shuggie Otis, bass • Paul Lagos, drums • Johnny Otis, vibes • Eddie "Cleanhead" Vinson, alto sax and vocals • Johnny Otis, Esther Phillips, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Margie Evans, Delmar "Mighty Mouth" Evans, vocals.
Here is Leonard Feather's take on it:
The Historic Rhythm & Blue Extravaganza That Rocked the 1970 Monterey Jazz Festival
The blues never has been, to my recollection, the occasion for a more joyous celebration of its uniquely vibrant spirit than on a certain day in the late summer of 1970, when Johnny Otis brought his entire azure-indigo caravan of giants to spread their talents over an afternoon on the fairgrounds at Monterey, California.
Here was the consummate proof that where today's music may set up communication and generation gaps, the blues destroys them. On stage, where Shuggie Otis, 16; rhythm guitarist Jim (Supe) Bradshaw, 23; singers Margie Evans and Delmar "Mighty Mouth" (no relation) Evans, both in their 20's; and the rest of the singing and blowing battalion representing every decade on up to Pee Wee Crayton and Big Joe Turner, both in their very late 50's, and Roy Milton, who's up there at the Social Security borderline.
The same with the roaring receptive, over capacity audience. Those who stood up on their seats hollering and testifying, or boogalooed along the aisles, were mostly in the 15-25 bracket, while others, less extroverted, exchanged reminiscences about the first time they had heard the call of the blues, perhaps at some half-remembered dance in the 30's, or on a 78 record player at high school in the 40's and 50's.
That's what this album is all about. This is no gallery of museum pieces set up to rekindle a lost past, no futile exercise in nostalgia; instead it is a meeting ground were ages, races, and backgrounds coalesce, where grooving together is all that matters.
All the other instrumental touches are emotionally strong, tonally robust products of the synthesis forged during the 1940s between jazz and R&B.
Through it all, Johnny Otis remains in firm control, opening the show by reviving his 1958 hit "Willie And The Hand Jive;" soloing and comping on vibes or piano, emceeing and directing his exuberant band through its casual, largely spontaneous arrangements.
There was a lot of love in the air that day. We all felt it, exchanged not only among musicians and singers, but from bandstand to audience and back. Wondering one moment why so many of the true blues pioneers had been short-changed by society, you asked yourself the next minute how a Shuggie Otis or a Supe Bradshaw could align himself so naturally with a music some thought was obsolescent.
On this day the vitality of the blues ws triumphantly reaffirmed. It happened in Monterey-and not long ago. Thanks to Johnny Otis, who put it all together, and the festival's Jimmy Lyons, who brought it onstage, the whole world of the blues burst on us like sunshine on that bright September afternoon.
- Leonard Feather
(Author of The New Encyclopedia of Jazz)
Melvin Moore, trumpet • Gene "Mighty Flea" Connors, trombone • Presten Love, alto and baritone saxes • Richard Aplanalp, soprano and tenor saxes • Clifford Solomon, tenor sax (all tenor solos) • Big Jim Wynn, baritone sax • Shuggie Otis, guitar (Pee Wee Crayton on "The Things I Used To Do") • Jim (Supe) Bradshaw, rhythm guitar (solo on "Good rockin' Tonight"); harp • Johnny Otis, Roger Spotts, Leonard Feather, piano (Ivory Joe Hunter on "Since I Met you Baby") • Lawrence Slim Dickens, Shuggie Otis, bass • Paul Lagos, drums • Johnny Otis, vibes • Eddie "Cleanhead" Vinson, alto sax and vocals • Johnny Otis, Esther Phillips, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Margie Evans, Delmar "Mighty Mouth" Evans, vocals.
Here is Leonard Feather's take on it:
The Historic Rhythm & Blue Extravaganza That Rocked the 1970 Monterey Jazz Festival
The blues never has been, to my recollection, the occasion for a more joyous celebration of its uniquely vibrant spirit than on a certain day in the late summer of 1970, when Johnny Otis brought his entire azure-indigo caravan of giants to spread their talents over an afternoon on the fairgrounds at Monterey, California.
Here was the consummate proof that where today's music may set up communication and generation gaps, the blues destroys them. On stage, where Shuggie Otis, 16; rhythm guitarist Jim (Supe) Bradshaw, 23; singers Margie Evans and Delmar "Mighty Mouth" (no relation) Evans, both in their 20's; and the rest of the singing and blowing battalion representing every decade on up to Pee Wee Crayton and Big Joe Turner, both in their very late 50's, and Roy Milton, who's up there at the Social Security borderline.
The same with the roaring receptive, over capacity audience. Those who stood up on their seats hollering and testifying, or boogalooed along the aisles, were mostly in the 15-25 bracket, while others, less extroverted, exchanged reminiscences about the first time they had heard the call of the blues, perhaps at some half-remembered dance in the 30's, or on a 78 record player at high school in the 40's and 50's.
That's what this album is all about. This is no gallery of museum pieces set up to rekindle a lost past, no futile exercise in nostalgia; instead it is a meeting ground were ages, races, and backgrounds coalesce, where grooving together is all that matters.
All the other instrumental touches are emotionally strong, tonally robust products of the synthesis forged during the 1940s between jazz and R&B.
Through it all, Johnny Otis remains in firm control, opening the show by reviving his 1958 hit "Willie And The Hand Jive;" soloing and comping on vibes or piano, emceeing and directing his exuberant band through its casual, largely spontaneous arrangements.
There was a lot of love in the air that day. We all felt it, exchanged not only among musicians and singers, but from bandstand to audience and back. Wondering one moment why so many of the true blues pioneers had been short-changed by society, you asked yourself the next minute how a Shuggie Otis or a Supe Bradshaw could align himself so naturally with a music some thought was obsolescent.
On this day the vitality of the blues ws triumphantly reaffirmed. It happened in Monterey-and not long ago. Thanks to Johnny Otis, who put it all together, and the festival's Jimmy Lyons, who brought it onstage, the whole world of the blues burst on us like sunshine on that bright September afternoon.
- Leonard Feather
(Author of The New Encyclopedia of Jazz)
Melvin Moore, trumpet • Gene "Mighty Flea" Connors, trombone • Presten Love, alto and baritone saxes • Richard Aplanalp, soprano and tenor saxes • Clifford Solomon, tenor sax (all tenor solos) • Big Jim Wynn, baritone sax • Shuggie Otis, guitar (Pee Wee Crayton on "The Things I Used To Do") • Jim (Supe) Bradshaw, rhythm guitar (solo on "Good rockin' Tonight"); harp • Johnny Otis, Roger Spotts, Leonard Feather, piano (Ivory Joe Hunter on "Since I Met you Baby") • Lawrence Slim Dickens, Shuggie Otis, bass • Paul Lagos, drums • Johnny Otis, vibes • Eddie "Cleanhead" Vinson, alto sax and vocals • Johnny Otis, Esther Phillips, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Margie Evans, Delmar "Mighty Mouth" Evans, vocals.
Here is Leonard Feather's take on it:
The Historic Rhythm & Blue Extravaganza That Rocked the 1970 Monterey Jazz Festival
The blues never has been, to my recollection, the occasion for a more joyous celebration of its uniquely vibrant spirit than on a certain day in the late summer of 1970, when Johnny Otis brought his entire azure-indigo caravan of giants to spread their talents over an afternoon on the fairgrounds at Monterey, California.
Here was the consummate proof that where today's music may set up communication and generation gaps, the blues destroys them. On stage, where Shuggie Otis, 16; rhythm guitarist Jim (Supe) Bradshaw, 23; singers Margie Evans and Delmar "Mighty Mouth" (no relation) Evans, both in their 20's; and the rest of the singing and blowing battalion representing every decade on up to Pee Wee Crayton and Big Joe Turner, both in their very late 50's, and Roy Milton, who's up there at the Social Security borderline.
The same with the roaring receptive, over capacity audience. Those who stood up on their seats hollering and testifying, or boogalooed along the aisles, were mostly in the 15-25 bracket, while others, less extroverted, exchanged reminiscences about the first time they had heard the call of the blues, perhaps at some half-remembered dance in the 30's, or on a 78 record player at high school in the 40's and 50's.
That's what this album is all about. This is no gallery of museum pieces set up to rekindle a lost past, no futile exercise in nostalgia; instead it is a meeting ground were ages, races, and backgrounds coalesce, where grooving together is all that matters.
All the other instrumental touches are emotionally strong, tonally robust products of the synthesis forged during the 1940s between jazz and R&B.
Through it all, Johnny Otis remains in firm control, opening the show by reviving his 1958 hit "Willie And The Hand Jive;" soloing and comping on vibes or piano, emceeing and directing his exuberant band through its casual, largely spontaneous arrangements.
There was a lot of love in the air that day. We all felt it, exchanged not only among musicians and singers, but from bandstand to audience and back. Wondering one moment why so many of the true blues pioneers had been short-changed by society, you asked yourself the next minute how a Shuggie Otis or a Supe Bradshaw could align himself so naturally with a music some thought was obsolescent.
On this day the vitality of the blues ws triumphantly reaffirmed. It happened in Monterey-and not long ago. Thanks to Johnny Otis, who put it all together, and the festival's Jimmy Lyons, who brought it onstage, the whole world of the blues burst on us like sunshine on that bright September afternoon.
- Leonard Feather
(Author of The New Encyclopedia of Jazz)
Melvin Moore, trumpet • Gene "Mighty Flea" Connors, trombone • Presten Love, alto and baritone saxes • Richard Aplanalp, soprano and tenor saxes • Clifford Solomon, tenor sax (all tenor solos) • Big Jim Wynn, baritone sax • Shuggie Otis, guitar (Pee Wee Crayton on "The Things I Used To Do") • Jim (Supe) Bradshaw, rhythm guitar (solo on "Good rockin' Tonight"); harp • Johnny Otis, Roger Spotts, Leonard Feather, piano (Ivory Joe Hunter on "Since I Met you Baby") • Lawrence Slim Dickens, Shuggie Otis, bass • Paul Lagos, drums • Johnny Otis, vibes • Eddie "Cleanhead" Vinson, alto sax and vocals • Johnny Otis, Esther Phillips, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Margie Evans, Delmar "Mighty Mouth" Evans, vocals.
Here is Leonard Feather's take on it:
The Historic Rhythm & Blue Extravaganza That Rocked the 1970 Monterey Jazz Festival
The blues never has been, to my recollection, the occasion for a more joyous celebration of its uniquely vibrant spirit than on a certain day in the late summer of 1970, when Johnny Otis brought his entire azure-indigo caravan of giants to spread their talents over an afternoon on the fairgrounds at Monterey, California.
Here was the consummate proof that where today's music may set up communication and generation gaps, the blues destroys them. On stage, where Shuggie Otis, 16; rhythm guitarist Jim (Supe) Bradshaw, 23; singers Margie Evans and Delmar "Mighty Mouth" (no relation) Evans, both in their 20's; and the rest of the singing and blowing battalion representing every decade on up to Pee Wee Crayton and Big Joe Turner, both in their very late 50's, and Roy Milton, who's up there at the Social Security borderline.
The same with the roaring receptive, over capacity audience. Those who stood up on their seats hollering and testifying, or boogalooed along the aisles, were mostly in the 15-25 bracket, while others, less extroverted, exchanged reminiscences about the first time they had heard the call of the blues, perhaps at some half-remembered dance in the 30's, or on a 78 record player at high school in the 40's and 50's.
That's what this album is all about. This is no gallery of museum pieces set up to rekindle a lost past, no futile exercise in nostalgia; instead it is a meeting ground were ages, races, and backgrounds coalesce, where grooving together is all that matters.
All the other instrumental touches are emotionally strong, tonally robust products of the synthesis forged during the 1940s between jazz and R&B.
Through it all, Johnny Otis remains in firm control, opening the show by reviving his 1958 hit "Willie And The Hand Jive;" soloing and comping on vibes or piano, emceeing and directing his exuberant band through its casual, largely spontaneous arrangements.
There was a lot of love in the air that day. We all felt it, exchanged not only among musicians and singers, but from bandstand to audience and back. Wondering one moment why so many of the true blues pioneers had been short-changed by society, you asked yourself the next minute how a Shuggie Otis or a Supe Bradshaw could align himself so naturally with a music some thought was obsolescent.
On this day the vitality of the blues ws triumphantly reaffirmed. It happened in Monterey-and not long ago. Thanks to Johnny Otis, who put it all together, and the festival's Jimmy Lyons, who brought it onstage, the whole world of the blues burst on us like sunshine on that bright September afternoon.
- Leonard Feather
(Author of The New Encyclopedia of Jazz)
Melvin Moore, trumpet • Gene "Mighty Flea" Connors, trombone • Presten Love, alto and baritone saxes • Richard Aplanalp, soprano and tenor saxes • Clifford Solomon, tenor sax (all tenor solos) • Big Jim Wynn, baritone sax • Shuggie Otis, guitar (Pee Wee Crayton on "The Things I Used To Do") • Jim (Supe) Bradshaw, rhythm guitar (solo on "Good rockin' Tonight"); harp • Johnny Otis, Roger Spotts, Leonard Feather, piano (Ivory Joe Hunter on "Since I Met you Baby") • Lawrence Slim Dickens, Shuggie Otis, bass • Paul Lagos, drums • Johnny Otis, vibes • Eddie "Cleanhead" Vinson, alto sax and vocals • Johnny Otis, Esther Phillips, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Margie Evans, Delmar "Mighty Mouth" Evans, vocals.
Melvin Moore, trumpet • Gene "Mighty Flea" Connors, trombone • Presten Love, alto and baritone saxes • Richard Aplanalp, soprano and tenor saxes • Clifford Solomon, tenor sax (all tenor solos) • Big Jim Wynn, baritone sax • Shuggie Otis, guitar (Pee Wee Crayton on "The Things I Used To Do") • Jim (Supe) Bradshaw, rhythm guitar (solo on "Good rockin' Tonight"); harp • Johnny Otis, Roger Spotts, Leonard Feather, piano (Ivory Joe Hunter on "Since I Met you Baby") • Lawrence Slim Dickens, Shuggie Otis, bass • Paul Lagos, drums • Johnny Otis, vibes • Eddie "Cleanhead" Vinson, alto sax and vocals • Johnny Otis, Esther Phillips, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Margie Evans, Delmar "Mighty Mouth" Evans, vocals.
Here is Leonard Feather's take on it:
The Historic Rhythm & Blue Extravaganza That Rocked the 1970 Monterey Jazz Festival
The blues never has been, to my recollection, the occasion for a more joyous celebration of its uniquely vibrant spirit than on a certain day in the late summer of 1970, when Johnny Otis brought his entire azure-indigo caravan of giants to spread their talents over an afternoon on the fairgrounds at Monterey, California.
Here was the consummate proof that where today's music may set up communication and generation gaps, the blues destroys them. On stage, where Shuggie Otis, 16; rhythm guitarist Jim (Supe) Bradshaw, 23; singers Margie Evans and Delmar "Mighty Mouth" (no relation) Evans, both in their 20's; and the rest of the singing and blowing battalion representing every decade on up to Pee Wee Crayton and Big Joe Turner, both in their very late 50's, and Roy Milton, who's up there at the Social Security borderline.
The same with the roaring receptive, over capacity audience. Those who stood up on their seats hollering and testifying, or boogalooed along the aisles, were mostly in the 15-25 bracket, while others, less extroverted, exchanged reminiscences about the first time they had heard the call of the blues, perhaps at some half-remembered dance in the 30's, or on a 78 record player at high school in the 40's and 50's.
That's what this album is all about. This is no gallery of museum pieces set up to rekindle a lost past, no futile exercise in nostalgia; instead it is a meeting ground were ages, races, and backgrounds coalesce, where grooving together is all that matters.
All the other instrumental touches are emotionally strong, tonally robust products of the synthesis forged during the 1940s between jazz and R&B.
Through it all, Johnny Otis remains in firm control, opening the show by reviving his 1958 hit "Willie And The Hand Jive;" soloing and comping on vibes or piano, emceeing and directing his exuberant band through its casual, largely spontaneous arrangements.
There was a lot of love in the air that day. We all felt it, exchanged not only among musicians and singers, but from bandstand to audience and back. Wondering one moment why so many of the true blues pioneers had been short-changed by society, you asked yourself the next minute how a Shuggie Otis or a Supe Bradshaw could align himself so naturally with a music some thought was obsolescent.
On this day the vitality of the blues ws triumphantly reaffirmed. It happened in Monterey-and not long ago. Thanks to Johnny Otis, who put it all together, and the festival's Jimmy Lyons, who brought it onstage, the whole world of the blues burst on us like sunshine on that bright September afternoon.
- Leonard Feather
(Author of The New Encyclopedia of Jazz)
ARTIST: Julian Cannonball Adderley
TITLE: Quintet Plus
COMPOSERS: Vinson, Monk, Feldman, Kelly, RayeDePaul, Zito
YEAR: 1961
LABEL: Riverside RLP 388 (original mono)
TIME: 41'51
PRODUCER: Orrin Keepnews
PHOTO: Don Bronstein
COUNTRY: US
BOUGHT: 24.7.09 (a gift by Aar)
GENRE: jazz, bob
FORMAT: LP
RECORD BEFORE THIS: Mingus: Ah Um
RECORD AFTER THIS: Tord Gustavsen: The Ground
SIDE 1
1. Arriving Soon (8:11 Eddie Vinson)
2. Well, You Needn't (6:25 Thelonious Monk)
3. New Delhi (6:54 Victor Feldman)
SIDE 2
4.Winetone (7:00 Wynton Kelly)
5.Star Eyes (7:04 Raye-Depaul)
6.Lisa (6:37 Feldman-Zito)
Julian Cannonball Adderley alto sax
Nat Adderley cornet
Victor Feldman vibes (2,3,4,5) and piano
Wynton Kelly piano (except 1,6)
Sam Jones bass, Louis Hayes drums
Recorded in Plaza sound Studio New York May 11, 1961.
My only record from Cannonball. Knew him from Miles Davis sextet from the 50's. He was playing e.g in Kind of Blue. This has been made a bit later, in 1961. Interesting to hear his combo here. Checked his discography and found interesting musicians later: Charles Lloyd and Joe Zawinul and George Duke were in his band in 60's and 70's. Never heard these yet...
TRIVIA: I'm at least the 3rd owner of this record. My friend bought this already 2nd hand in early 70's and because the LP is MONO, it's in a quite a good shape still.
Here is Leonard Feather's take on it:
The Historic Rhythm & Blue Extravaganza That Rocked the 1970 Monterey Jazz Festival
The blues never has been, to my recollection, the occasion for a more joyous celebration of its uniquely vibrant spirit than on a certain day in the late summer of 1970, when Johnny Otis brought his entire azure-indigo caravan of giants to spread their talents over an afternoon on the fairgrounds at Monterey, California.
Here was the consummate proof that where today's music may set up communication and generation gaps, the blues destroys them. On stage, where Shuggie Otis, 16; rhythm guitarist Jim (Supe) Bradshaw, 23; singers Margie Evans and Delmar "Mighty Mouth" (no relation) Evans, both in their 20's; and the rest of the singing and blowing battalion representing every decade on up to Pee Wee Crayton and Big Joe Turner, both in their very late 50's, and Roy Milton, who's up there at the Social Security borderline.
The same with the roaring receptive, over capacity audience. Those who stood up on their seats hollering and testifying, or boogalooed along the aisles, were mostly in the 15-25 bracket, while others, less extroverted, exchanged reminiscences about the first time they had heard the call of the blues, perhaps at some half-remembered dance in the 30's, or on a 78 record player at high school in the 40's and 50's.
That's what this album is all about. This is no gallery of museum pieces set up to rekindle a lost past, no futile exercise in nostalgia; instead it is a meeting ground were ages, races, and backgrounds coalesce, where grooving together is all that matters.
All the other instrumental touches are emotionally strong, tonally robust products of the synthesis forged during the 1940s between jazz and R&B.
Through it all, Johnny Otis remains in firm control, opening the show by reviving his 1958 hit "Willie And The Hand Jive;" soloing and comping on vibes or piano, emceeing and directing his exuberant band through its casual, largely spontaneous arrangements.
There was a lot of love in the air that day. We all felt it, exchanged not only among musicians and singers, but from bandstand to audience and back. Wondering one moment why so many of the true blues pioneers had been short-changed by society, you asked yourself the next minute how a Shuggie Otis or a Supe Bradshaw could align himself so naturally with a music some thought was obsolescent.
On this day the vitality of the blues ws triumphantly reaffirmed. It happened in Monterey-and not long ago. Thanks to Johnny Otis, who put it all together, and the festival's Jimmy Lyons, who brought it onstage, the whole world of the blues burst on us like sunshine on that bright September afternoon.
- Leonard Feather
(Author of The New Encyclopedia of Jazz)
For almost 60 years drummer Louis Hayes has backed and played with some of the most prolific jazz musicians in the music’s short history. The Detroit, Michigan native comes from a great musical class which includes: Dr. Barry Harris, Yusef Lateef, Curtis Fuller, Kenny Burrell, and Ron Carter; musicians he began playing with professionally while still in his teens. Louis knew from an early age that he was destined to become a great musician and his parents encouraged him and geared towards that.
By the time he was 19 Louis was recruited by pianist Horace Silver to join his unit and sent for him to come to New York City in 1956 where he’s been a resident ever since. For three years he was part of Horace’s historic quintet he started after his stint with Art Blakey. But is was another musician that was also making waves on the jazz scene that on his way out and was about to form his own group. Julian “Cannonball” Adderley was playing with the Miles Davis Quintet which featured the legendary John Coltrane on tenor saxophone. By the end of Miles’s critically acclaimed “Kind of Blue” recording peaked jazz heads as well as gain new listeners, both Trane and Adderley would leave Miles and forge their own history in jazz music.
On a recommendation from bassist Sam Jones, Louis would be asked by Cannonball to join his quintet that would become legendary in their own right. The group would include: Cannonball on alto saxophone; Nat Adderley on coronet; Louis Hayes on drums; Yusef Lateef on reeds; Joe Zawinul on piano; and Sam Jones on bass. This unit would become one of the most influential groups in modern jazz and serve as springboard for many new jazz groups to come.
After a fruitful six year run with the Adderley’s, he then joined the legendary Oscar Peterson Trio for two years. Throughout his career he’s also played with Junior Cook, James Spaulding, Woody Shaw, and McCoy Tyner.
Louis continues to carry Cannonball’s legacy with the Louis Hayes Cannonball Legacy Band featuring Vincent Herring on alto sax; Jeremy Pelt on trumpet; Rick Germanson on piano; and Richie Goods on bass. Louis tours all over the world playing Cannonball’s songbook like: “Work Song,” “Hi-Fly,” “Tradition,” and “Jive Samba.”
Watch this video on Vimeo. Video created by Brian Pace.
Clouds, de Cannonball Adderley.
Sí, tal cual: un azul intenso. Tan intenso, que llegué a preguntarme cómo era posible que hasta ese momento hubiese dejado pasar de largo la importancia que en el día a día tiene lo que nuestros ojos observan.
Una ocasión perfecta para dejar que la iluminación llegue hasta los lugares más oscuros, aquéllos donde habitan las células que nos roban la sonrisa y la emoción. Se puede ser feliz con tan poco...
Julian Edwin "Cannonball" Adderley was a jazz alto saxophonist of the hard-bop era of the 1950s and 1960s. Originally from Tampa, Florida, he moved to New York in the mid 1950s. His nickname derived originally from "cannibal," an honorific title imposed on him by high school colleagues as a tribute to his vast eating capacity. He was the brother of jazz cornetist Nat Adderley.