Streaming ilimitado
Escuche este álbum ahora en alta calidad en nuestras apps
Comenzar mi periodo de prueba gratis y escuchar este álbumDisfrute de este álbum en las apps Qobuz con sususcripción
SuscribirDisfrute de este álbum en las apps Qobuz con sususcripción
Jazz was undergoing a sea change in 1970 thanks to Miles Davis' electronic and structural breakthroughs, and his former sideman, Cannonball Adderley, was right in the thick of things (the two leaders shared musicians and traded influences during this period). Like Miles, the Adderleys expanded their canvas to double-LPs -- this live album being the first of a series in the double-pocket format -- and each side would be organized into nearly continuous medleys. Not only that, Cannonball still had Joe Zawinul on board, who greatly altered the texture of Cannonball's music with his floating electric piano and science-fiction interludes with a ring modulator (this would be his last album with the Quintet). Roy Booker had replaced Victor Gaskin on upright bass, Still, Cannonball was a populist at heart, and his generosity of spirit shines through this often deliciously diverse album, which ranges wildly from flat-out soul and funky grooves to Brazilian music (Milton Nascimento's "Bridges") and even possesses a cautious toe dip into the avant-garde ("Out and In"). It endures as such a document, too, since parts of it have been sampled by J Dilla, Pharcyde, Kwest the Madd Ladd, and Funkdoobiest. Along the way, we hear vocals from both Adderleys (including an exceedingly rare yet oddly charming one from Cannon on Milton Nascimento's challenging "Bridges"), a stunningly touching Cannonball testament on soprano in "Some Time Ago," and alto solos that definitely show that Cannonball had absorbed the Coltrane vocabulary. Guest Nat Adderley, Jr.'s clichéd anti-Nixon sloganeering on the title tune is just that (granted, he was only 15 years old), but his presence testifies to the close-knit, liberal family atmosphere that Cannonball encouraged. He more than compensates for it with his funky acoustic guitar playing backing his father's vocal on "Down in the Black Bottom" (the B-side for the album's rousing single "Get Up Off Your Knees") while a gospel Rhodes piano testifies. Another notable track is Zawinul's modal "Painted Desert" in its first recorded (and most likely edited) version. The Price You Got to Pay to Be Free is a fascinating snapshot of the Quintet in transition.
© Richard S. Ginell /TiVo
Está escuchando muestras.
Escuche más de 100 millones de pistas con un plan de streaming ilimitado.
Escuche esta playlist y más de 100 millones de pistas con nuestros planes de streaming ilimitado.
Desde USD 4,19/mes
David Axelrod, Producer - Cannonball Adderley, Composer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
David Axelrod, Producer - Joe Zawinul, Composer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
Nat Adderley Jr., Composer - David Axelrod, Producer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
David Axelrod, Producer - Cannonball Adderley, Composer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
Torquato Neto, Composer - David Axelrod, Producer - Edu Lobo, Composer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
Nat Adderley Jr., Composer - David Axelrod, Producer - Cannonball Adderley, Producer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
David Axelrod, Producer - SERGIO MIHANOVICH, Composer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Blue Note Records
Unknown, Composer - David Axelrod, Producer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
David Axelrod, Producer - Joe Zawinul, Composer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
David Axelrod, Producer - Cannonball Adderley, Composer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Blue Note Records
Nat Adderley, Composer - David Axelrod, Producer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
Walter Booker, Composer - David Axelrod, Producer - Joe Zawinul, Composer - Cannonball Adderley Quintet, MainArtist - McCurdy, Composer
℗ 1970 Blue Note Records
Unknown, Composer - David Axelrod, Producer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Blue Note Records
David Axelrod, Producer - Cannonball Adderley, Composer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
David Axelrod, Producer - Cannonball Adderley, Composer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
Unknown, Composer - David Axelrod, Producer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
Gene Lees, Composer - Milton Nascimento, Composer - Fernando Brant, Composer - David Axelrod, Producer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
David Axelrod, Producer - Cannonball Adderley, Composer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
Nat Adderley Jr., Composer - David Axelrod, Producer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Capitol Records, LLC
Walter Booker, Double Bass, AssociatedPerformer - Roy McCurdy, Drums, AssociatedPerformer - Nat Adderley, Composer, Cornet, AssociatedPerformer - David Axelrod, Producer - Cannonball Adderley, Alto Saxophone, AssociatedPerformer - Joe Zawinul, Piano, AssociatedPerformer - Julian Adderley, Producer - Josef Zawinul, Composer - Cannonball Adderley Quintet, MainArtist
℗ 1970 Blue Note Records
Presentación del Álbum
Jazz was undergoing a sea change in 1970 thanks to Miles Davis' electronic and structural breakthroughs, and his former sideman, Cannonball Adderley, was right in the thick of things (the two leaders shared musicians and traded influences during this period). Like Miles, the Adderleys expanded their canvas to double-LPs -- this live album being the first of a series in the double-pocket format -- and each side would be organized into nearly continuous medleys. Not only that, Cannonball still had Joe Zawinul on board, who greatly altered the texture of Cannonball's music with his floating electric piano and science-fiction interludes with a ring modulator (this would be his last album with the Quintet). Roy Booker had replaced Victor Gaskin on upright bass, Still, Cannonball was a populist at heart, and his generosity of spirit shines through this often deliciously diverse album, which ranges wildly from flat-out soul and funky grooves to Brazilian music (Milton Nascimento's "Bridges") and even possesses a cautious toe dip into the avant-garde ("Out and In"). It endures as such a document, too, since parts of it have been sampled by J Dilla, Pharcyde, Kwest the Madd Ladd, and Funkdoobiest. Along the way, we hear vocals from both Adderleys (including an exceedingly rare yet oddly charming one from Cannon on Milton Nascimento's challenging "Bridges"), a stunningly touching Cannonball testament on soprano in "Some Time Ago," and alto solos that definitely show that Cannonball had absorbed the Coltrane vocabulary. Guest Nat Adderley, Jr.'s clichéd anti-Nixon sloganeering on the title tune is just that (granted, he was only 15 years old), but his presence testifies to the close-knit, liberal family atmosphere that Cannonball encouraged. He more than compensates for it with his funky acoustic guitar playing backing his father's vocal on "Down in the Black Bottom" (the B-side for the album's rousing single "Get Up Off Your Knees") while a gospel Rhodes piano testifies. Another notable track is Zawinul's modal "Painted Desert" in its first recorded (and most likely edited) version. The Price You Got to Pay to Be Free is a fascinating snapshot of the Quintet in transition.
© Richard S. Ginell /TiVo
Acerca del álbum
- 1 disco(s) - 20 pista(s)
- Duración total: 01:16:17
- Artistas principales: Cannonball Adderley Quintet
- Compositor: Various Composers
- Sello: Stateside
- Género Jazz
© 1970 Capitol Records, LLC ℗ 1970 Capitol Records, LLC
Mejorar la información del álbum