CANNONBALLS IS LIKE A WELCOME FAVORITE COUSIN TELLING YOU HES MOVIN BACK TO YOUR STATE. AN IF HE CAN STAY WITH YOU UNTIL HE BUYS A HOUSE, HELLLLLLLLL YEAH . THESE WERE SOME OF MY HAPPIEST MEMORIES. CANNONBALL FOREVER..
If perfection is possible playing the Alto Saxaphone then Julian Adderley has achieced it. A beautiful tone unlike the saccharin sounds of Desmond, Konitz and Pepper, but full of feeling and warmth. Thankyou Cannonball for sharing your gift.
@@Agressel1 Not criticizing their content , only the tone of the instrument. Its all to do with the inner shape of the mouth , Blacks have a greater cavity .
It's only that saccharin is an artificial sweetener that causes cancer! Also its hard to think of three more disparate players than those, as far as concept and sound goes. Cannonball is wonderful, so is Clarence "C" Sharpe and the Boid. It's perfectly normal to prefer artists, I just don't see the need to put other great exponents of the artform down
@@olebirgerpedersen So you are unable to distinguish the Sax playing between a white and Black artist. Parker and Pepper , Coltrane and Getz . I cannot believe you to be a dedicated jazz enthusiast , as you would know that the races followed different influences . Getz and co liked the mellow sound of Lester Young whereas Blacks biggest influence was the Harsher sound of Coleman Hawkins. I have ears and that is why I have been a fan for over sixty years.
Other musicians? Important because they were PERFECT on this record. Brazilians? They had the correct syncopation, and CBall hit right with it. Also, was this before or after the seminal Getz/Gilberto record?
Recorded December 7, 1962 (#1-2, 6) December 10, 1962 (#3, 7-8) December 11, 1962 (#4-5) New York City Charly Bird was the first US jazzman to exploit the brazilian mother lode and showed it to Getz, so their "Jazz samba" was recorded in Recorded in February, 1962 ; then "Getz-Gilberto" in march,1963 (and Getz had recorde "Jazz samba encore!" with Luís Bonfá on February 8-9 and 27, 1963 ; and "Stan Getz With Guest Artist Laurindo Almeida" on March 21-22, 1963. Everyone of the releases was directed by Verve's producer Creed Taylor. Cannonball recorded with a Brazilian jazz group that already existed, Bossa Rio Sextet, leaded by Sérgio Mendes-piano with Durval Ferreira - guitar Octavio Bailly, Jr. - bass Dom Um Romão - drums Pedro Paulo - trumpet (#2, 4-5, 7-8) Paulo Moura - alto saxophone (#2, 4-5, 7-8)
Étrange disque de cannonbal Adderley il n était pas très inspiré par la bossa on n ais très loin d un Stan Getz je pense qu il as fais ce disque pour des raisons commerciales financières sans intérêt dommage
Personnellement, je ne trouve pas ce disque inférieur à ce que Stan Getz a fait . Mais il faut dire que la comparaison peut paraître inappropriée, vu que Adderley, c'est du saxophone alto. Alors que Getz est du saxophone ténor.
One of the great 20th Century recordings!
I think there's a Dennis the Menace cartoon when he says after listening to Mozart, " He's no Cannonball Adderley, but he's alright."
ファンキー大将アダレイのボサノバジャズ🎶🎷良いですね～🎶🎶🎶👌👌😃
Everything Cannonball Adderley touces is filled with geniality.
Yes, even brilliance!
I would say this is gold, but it's beyond that, this is diamond level.
I've been saying that since I first listened to the album some time in the mid 60's. It's now been on my favorites list for nearly 60 years.
CANNONBALLS IS LIKE A WELCOME FAVORITE COUSIN TELLING YOU HES MOVIN BACK TO YOUR STATE. AN IF HE CAN STAY WITH YOU UNTIL HE BUYS A HOUSE, HELLLLLLLLL YEAH . THESE WERE SOME OF MY HAPPIEST MEMORIES. CANNONBALL FOREVER..
god bless you, johnny
The most swinging saxplay that ever existed.
Esta gravação ..se eternizou..
Continua..maravilhosamente linda..
Atual..atuante..
Arranjos..melodia..escolha musical.
Simplesmente sensacional 😃
Thanks a lot for this music¡¡¡
Sergio Mendes, piano and arrangements.
Clouds was his favorit, but I find the solo he plays on Cocovada tue most fantastic
Imagination and compotison unic ..
Great great album. Thank you for sharing. Happy new year. Nadir
super album. muchas gracias
If perfection is possible playing the Alto Saxaphone then Julian Adderley has achieced it. A beautiful tone unlike the saccharin sounds of Desmond, Konitz and Pepper, but full of feeling and warmth. Thankyou Cannonball for sharing your gift.
Why the need to trash other masters? Music is not a zero sum game!
@@Agressel1 Not criticizing their content , only the tone of the instrument. Its all to do with the inner shape of the mouth , Blacks have a greater cavity .
It's only that saccharin is an artificial sweetener that causes cancer! Also its hard to think of three more disparate players than those, as far as concept and sound goes. Cannonball is wonderful, so is Clarence "C" Sharpe and the Boid. It's perfectly normal to prefer artists, I just don't see the need to put other great exponents of the artform down
@@jameswebb4593 Nonsence. The sound comes from what you hear.
@@olebirgerpedersen So you are unable to distinguish the Sax playing between a white and Black artist. Parker and Pepper , Coltrane and Getz . I cannot believe you to be a dedicated jazz enthusiast , as you would know that the races followed different influences . Getz and co liked the mellow sound of Lester Young whereas Blacks biggest influence was the Harsher sound of Coleman Hawkins. I have ears and that is why I have been a fan for over sixty years.
Nice!!
Demais
Other musicians? Important because they were PERFECT on this record. Brazilians? They had the correct syncopation, and CBall hit right with it. Also, was this before or after the seminal Getz/Gilberto record?
Yes, Getz/Gilberto album was out in 1963.
@@65tb31 when was this album released ?
Recorded December 7, 1962 (#1-2, 6)
December 10, 1962 (#3, 7-8)
December 11, 1962 (#4-5)
New York City
Charly Bird was the first US jazzman to exploit the brazilian mother lode and showed it to Getz, so their "Jazz samba" was recorded in Recorded in February, 1962 ; then "Getz-Gilberto" in march,1963 (and Getz had recorde "Jazz samba encore!" with Luís Bonfá on February 8-9 and 27, 1963 ; and "Stan Getz With Guest Artist Laurindo Almeida" on March 21-22, 1963. Everyone of the releases was directed by Verve's producer Creed Taylor.
Cannonball recorded with a Brazilian jazz group that already existed, Bossa Rio Sextet, leaded by Sérgio Mendes-piano with Durval Ferreira - guitar
Octavio Bailly, Jr. - bass
Dom Um Romão - drums
Pedro Paulo - trumpet (#2, 4-5, 7-8)
Paulo Moura - alto saxophone (#2, 4-5, 7-8)
please open the other one for my country too
Étrange disque de cannonbal Adderley il n était pas très inspiré par la bossa on n ais très loin d un Stan Getz je pense qu il as fais ce disque pour des raisons commerciales financières sans intérêt dommage
Personnellement, je ne trouve pas ce disque inférieur à ce que Stan Getz a fait . Mais il faut dire que la comparaison peut paraître inappropriée, vu que Adderley, c'est du saxophone alto. Alors que Getz est du saxophone ténor.