Money Cannonball Adderley

Cannonball Adderley - Cannonball Plays Zawinul (2004) {Capitol Jazz rec 1961-71}
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© 2004 Capitol Jazz / Blue Note | 7243 5 97070 2 0 | 24-bit remaster
Jazz / Hard Bop / Fusion / Soul Jazz / Saxophone

Compiled by pianist Joe Zawinul, this Capitol collection features 10 songs composed by Zawinul himself and performed by the Cannonball Adderley Quintet. Both one-time members of Miles Davis's groups, Adderley and Zawinul began their association in the early 1960s when Zawinul joined the sax man's ensemble. In addition to writing some of Adderley's most memorable and popular material, Zawinul proved instrumental in pushing the quintet toward a more soulful, commercially viable sound.

Cannonball Adderley - Cannonball In Japan (1966) {Capitol Jazz Japan CDP 7 93560 2 rel 1990}
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© 1966, 1990 Capitol Jazz / Toshiba-EMI | CDP 7 93560
Jazz / Hard Bop / Soul Jazz / Saxophone

A rare live set by Cannonball Adderley – unreleased in America at the time, and performed with the style of Cannon's best work for Riverside! The album's very similar to some of the group's best live sets for Riverside – like the San Francisco or other Tokyo recording – done with tracks that are long and a bit stretched out, performed with Nat Adderley on cornet, Joe Zawinul on piano, Vic Gaskin on bass, and Roy McCurdy on drums.

Joe Zawinul - Money In The Pocket (1966) {2012 Atlantic Japan Jazz Best Collection 1000 Series 24bit WPCR-27016}
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© 1966, 2012 Atlantic / Rhino / Warner Japan / WEA | WPCR-27016 | Jazz Best Collection 1000 Series
Jazz / Hard Bop / Soul Jazz / Modal Music / Piano

Features 24 bit remastering and comes with a mini-description. The late, great Joe Zawinul is most fondly remembered for Weather Report and for his later leadership of one of the best world-jazz fusion bands, the Zawinul Syndicate. Money in the Pocket, however, represents the Zawinul story earlier on, in 1965, after he had been playing in Cannonball Adderley's band for four years.

When two of the indie-jazz scene’s foremost instrumentalists unite for their debut co-writing collaboration that intermingles panoramic Americana-infused arrangements with a Brooklyn jazz pocket, the result is as ambitious as only violinist Jenny Scheinman and drummer Allison Miller could envision.

John Lee Hooker - That's My Story & House Of The Blues (1959-1960) {Soul Jam Records 600826 rel 2013}
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© 1959-60, 2013 Riverside / Soul Jam Records | 600826
Blues / Electric Blues / Delta Blues / Acoustic Blues / Detroit Blues / Blues Revival

Although Orrin Keepnews' Riverside Records was primarily a jazz label, the company dabbled in blues in the 1960s – and one of the bluesmen who recorded for Riverside was John Lee Hooker. Recorded in 1960, this Keepnews-produced session came at a time when Hooker was signed to Vee-Jay. The last thing Keepnews wanted to do was emulate Hooker's electric-oriented, very amplified Vee-Jay output, which fared well among rock and R&B audiences. Keepnews had an acoustic country blues vision for the bluesman, and That's My Story favors a raw, stripped-down, bare-bones approach – no electric guitar, no distortion, no singles aimed at rock & rollers.

Although Orrin Keepnews' Riverside Records was primarily a jazz label, the company dabbled in blues in the 1960s - and one of the bluesmen who recorded for Riverside was John Lee Hooker. Recorded in 1960, this Keepnews-produced session came at a time when Hooker was signed to Vee-Jay. The last thing Keepnews wanted to do was emulate Hooker's electric-oriented, very amplified Vee-Jay output, which fared well among rock and R&B audiences. Keepnews had an acoustic country blues vision for the bluesman, and That's My Story favors a raw, stripped-down, bare-bones approach - no electric guitar, no distortion, no singles aimed at rock & rollers. Over the years, Hooker fans have debated the merits of his Riverside albums…