I was introduced to jazz, and especially to Cannonball Adderley’s records, at an early age by my father, who played in a jazz band himself. This album has been with me (consciously) for almost thirty years. “The Cannonball Adderley Sextet in New York” has its fiftieth anniversary in 2012, originally recorded at the Village Vanguard and released in 1962. To me, this is one of Adderley’s best albums ever, as the music is performed by the best line up among all his groups, featuring, of course, his brother, Nat Adderley on cornet; the indispensable pianist Joe Zawinul (who later worked with Miles Davis and became one of the founding members of Weather Report); Yusef Lateef on tenor saxophone, flute and oboe; and the formidable rhythm section of Louis Hayes on drums and Sam Jones on bass. And, of course Julian “Cannonball” Adderley (who also played on Davis’ “Kind of Blue,” 1959) on alto saxophone. The Sextet’s appearance in New York was the group’s recording debut and the first appearance of Viennese pianist Zawinul.
After Cannonball’s eloquent introductions the group launches into “Gemini,” a jazz waltz in 6/8, the longest and most outstanding track on the album. Jones’ bass line opens the piece, followed by Zawinul’s piano and then the soaring flute of Yusef Lateef, before the rest of the group joins in. One of the other seminal numbers is the busy, high-flying “Planet Earth,” on which the Sextet swings passionately. “Syn-Anthesia” is a slow, atmospheric piece with wonderful oboe leads. “Scotch and Water” and “Cannon’s Theme” close the album, leaving you behind snapping your fingers in time. The three horns are staged fabulously throughout.
If you dig this album you should definitely check out “The Cannonball Adderley Quintet in San Francisco”. It contains “This Here” as well as the spectacular “Spontaneous Combustion.” And, of course “Mercy, Mercy, Mercy” (also by the Quintet), its title track being one of the most beautiful pieces there is. I gotta say, these fantastic live recordings, made in the clubs, in front of an enthusiastic audience, forever ruined jazz studio recordings for me. For me, jazz only comes to life on live albums, recorded in performance before an audience.

by artistxite