Requisites

What Is This Thing Called Soul? ~ The Cannonball Adderley-Nat Adderley Quintet | By Eddie Carter

I revisited a few of my mom’s cherished albums a few nights ago. The first of them, this morning’s record from the library submitted for your approval, inspired today’s discussion. What Is This Thing Called Soul? (Pablo Live 2308-238) is a concise retrospective of three live performances by The Cannonball Adderley-Nat Adderley Quintet during their 1960 European Tour in Paris, France, Gothenburg, and Stockholm, Sweden. Released in 1984, the personnel for this live album are Nat Adderley on cornet, Cannonball Adderley on alto sax, Vic Feldman on piano, Sam Jones on bass, and Louis Hayes on drums. My copy is the original U.S. Stereo release.

Side One opens with Victor Feldman’s Azule Serape; the quintet sets things in motion with the effortlessly swinging melody. Cannonball is up first with a finger-snapping flight of pure joy. Nat provides the toe-tapping compliment in the following statement. Victor continues grabbing the listener in the third reading before the ensemble reassembles to take the song out, leaving the audience exhilarated. Cannonball takes a moment to announce the second tune, Big P, by Jimmy Heath, which turns the heat up significantly, beginning with Sam’s bass introduction to the group’s spirited theme. Cannonball is off to the races first with an inexhaustible flow of ideas. Nat follows with a solo full of energy ahead of the vigorous reprise and finale.

Cannonball quickly mentions Nat before presenting the next song, the cornetist’s One For Daddy-O, his tribute to the Chicago disc jockey, Daddy O-Daylie. The rhythm section starts with a relaxing introduction to the group’s laid-back theme. Cannonball’s opening solo is pleasant and friendly. Nat is as carefree as a day at the beach in the following reading preceding the out-chorus and ending. The second side opens with what Cannonball describes as a soul piece, The Chant by Victor Feldman. The ensemble starts the song with a happy melody, then steps aside for Cannonball’s funky opening statement. Nat emerges next with an enthusiastic performance; then Victor contributes an impressive interpretation before the quintet restates the theme.

What Is This Thing Called Love? by Cole Porter is a classic jazz standard from the thirties, or as Cannonball describes it in his introduction, What Is This Thing Called Soul? The quintet kicks off the melody vigorously; Cannonball then cooks up a storm in the opening statement so hard that the listener might need to check that their speakers aren’t on fire. Nat comes sailing in next and continues cruising down the road rapidly. Victor states his case in a furiously swinging solo, and then Louis engages in a heated exchange with Cannonball until the theme’s reappearance and climax. The ensemble launches into the melody of Cannonball’s Theme, where the saxophonist thanks the audience and reintroduces the group before the song ends as quickly as it began.

Cannonball and Nat Adderley produced What Is This Thing Called Soul? There’s no mention of who recorded these concerts, but I’m happy to say the album’s sound quality is excellent, allowing the listener to feel like they’re part of the French and Swedish audiences. My mom always loved Cannonball’s rapport with the crowd on his live albums, and his playing always possessed a soulful groove that got your fingers and toes tapping from the first note to the last. If you’re already a fan of both brothers and enjoy live hard-bop, I offer for your consideration What Is This Thing Called Soul? by The Cannonball Adderley-Nat Adderley Quintet on your next record hunt. It’s an overlooked but enjoyable album you won’t regret adding to your library!

~ What Is This Thing Called Love? – Source: JazzStandards.com

© 2024 by Edward Thomas Carter

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Daily Dose Of Jazz…

Frank Gambale was bornon December 22, 1958 in Canberra, Australia. He graduated from the Guitar Institute of Technology in Hollywood, California with Student of the Year honors and taught there from 1984 to 1986.

With the Mark Varney Project, consisting of Allan Holdsworth, Brett Garsed, and Shawn Lane, he recorded two albums, his debut Truth in Shredding in 1990 and his sophomore project Centrifugal Funk the following year.

1987 saw Frank spending six years as a member of the Chick Corea Elektric Band, playing with Eric Marienthal, John Patitucci, and Dave Weckl. With the band he recorded five albums and shared two Grammy Award nominations.

He spent twelve years as a member of Vital Information led by Steve Smith. He reunited with the Elektric Band in 2002 and with Corea in 2011 when he joined Return to Forever IV with Stanley Clarke, Jean-Luc Ponty, and Lenny White.

Gambale has been head of the guitar department at the Los Angeles Music Academy. He joined the Isina mentorship program as head of the guitar department in 2014. During the next year, he started an online guitar school.

Guitarist Frank Gambale has released twenty albums over a period of three decades, and continues to perform and teach.

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Daily Dose Of Jazz…

Jeremy Bacon was born in New York City, New York on December 16, 1959 into a musical family that were big jazz fans. His father sang with the New York Choral Society and The Occasional Singers, an avant-garde group led by folk singer Gil Robbins. Her uncle designed album covers for Thelonious Monk, Cannonball Adderley and numerous others for Riverside Records.

Taking piano lessons as a child he went on to  study in high school at the Center for Open Education and then jazz improvisation and composition at Oberlin. After college, Jeremy became the protégé of pianist Don Pullen. He worked regularly in a trio led by bassist Charles Fambrough, which rotated drummer Jeff “Tain” Watts, trumpeters Johnny Coles and Michael Philip Mossman, saxophonists Joe Ford and Ralph Bowen, and guitarist Pat Martino.

He was musical director for Joey Arias’ Billie Holiday show at Carnegie Hall and accompanied many vocalists, including Kristin Chenoweth and Jeanie Bryson, daughter of Dizzy Gillespie. He recorded two albums as a leader Cloud Hands and Cage Free: Free Range, and Travels with the band Big Train. Bacon lent his talents to three recordings with saxophonist Joey Cavaseno, and one with vocalist Queen Esther.

Having established himself on the East Coast, a move to the Pacific Northwest in 2018 opened a new audience, performing regularly as a leader and accompanist. He taught piano on the faculty of Cornish College of the Arts, accompanied dance classes in the theater department, and performed with Seattle JazzED at many regional elementary schools.

Jazz pianist Jeremy Bacon died at Franciscan Hospice House in Tacoma, Washington  on July 8, 2024, after months of treatment for metastatic colon cancer. He was 64 years old.

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Requisites

Zoot ~ Zoot Sims Quartet | By Eddie Carter

I’d just completed a long week and wanted to hear something soothing after dinner. I chose Zoot (Argo LP 608), a 1957 album by The Zoot Sims Quartet. John Haley Sims was born in Inglewood, California and began playing the clarinet and drums at an early age. By age thirteen, he started the tenor sax and later joined the big bands of Kenny Baker, Bobby Sherwood, and Benny Goodman. He got his nickname Zoot while playing with Kenny Baker and later gained attention in Woody Herman’s orchestra as one of the four brothers’ sax section. The personnel on this date are Zoot Sims on alto sax (track: B3) and tenor sax (A1 to B2, B4), Johnny Williams on piano, Knobby Totah on bass, and Gus Johnson on drums. My copy is the 1975 Japanese Mono reissue (Cadet MJ-1013M).

The first side opener, 9:20 Special by Earle Warren, begins with the quartet’s delightfully relaxing melody. Zoot is the first to whet the listener’s appetite in the opening reading. Johnny takes the baton for a light-hearted solo next. Knobby follows with a few well-placed bass notes, and Gus shares the finale with Zoot in a short conversation ahead of the theme’s reprise. The Man I Love by George and Ira Gershwin opens with the rhythm section’s tasteful background accompanying Zoot’s tenderly warm tone in the opening chorus and the saxophonist’s first reading. Johnny is equally thoughtful and sensitive in the following interpretation. Zoot adds a few soothing last thoughts, like gentle raindrops hitting the ground, into a mellow ending.

55^th and State, an original by Zoot Sims, moves the beat upward to a medium bounce for the ensemble’s theme. Zoot leads off with an inspired improvisation, then passes the torch to Johnny, who follows with a rousing performance. Gus wraps up the finale, sharing a lively conversation with Zoot, leading to the theme’s return. Blue Room by Richard Rodgers and Lorenz Hart is an old show tune from the twenties. The quartet rises to the occasion, getting into an infectious groove on the melody. Zoot rolls out ideas effortlessly in the opening statement. Johnny extends the joyous mood in the following interpretation, and then Gus engages in a short exchange with Zoot, leading to the ending theme and conclusion.

Side Two begins with Gus’s Blues, an original by Gus Johnson that Johnny introduces, segueing to the foursome’s easygoing melody. Zoot sets a swinging groove on the opening performance. The pianist follows the leader with a bright, bouncy interpretation, and then the saxophonist returns for a closing presentation that disappears into nothingness. The group takes on another old chestnut with their rendition of That Old Feeling by Sammy Fain and Lew Brown. After the quartet establishes the opening ensemble, Zoot launches into one of his best solos on the album. Johnny responds with a compelling reading, and then the saxophonist delivers the last word in a short sermon before the group takes the song out.

Zoot switches to alto sax for Oscar Pettiford’s Bohemia After Dark. It’s a swinger from the word go, and this point is emphasized when the saxophonist takes charge during the foursome’s theme. Zoot continues cooking with confidence on the lead solo. Johnny meets the challenge head-on in a concise presentation, then turns it back over to Zoot, who delivers the knockout punch preceding the brisk reprise and climax. The closing track is Woody ‘n’ You, Dizzy Gillespie’s tribute to Woody Herman that takes off with the quartet’s brisk theme. Zoot opens with an enthusiastic performance. Johnny matches him in agility on the following statement. Knobby has a short stint next, and then Zoot and Gus share the exclamation point before the theme reprise and finale.

Dave Usher produced the album, but it’s unknown who the recording engineer was for the session. The album’s sound quality possesses a solid soundstage despite a minor issue during Knobby’s bass solo on Woody ‘n’ You, where the bass sounds distorted; the remainder of the album is excellent. Zoot Sims’s successful career as a leader and sideman lasted forty years, recording on various labels with many exceptional jazz musicians. He passed away from lung cancer on March 23, 1985, at the age of fifty-nine. If you’re a fan of Cool Jazz, I offer Zoot by The Zoot Sims Quartet for your consideration on your next record-shopping trip. This album of originals and standards is superbly performed and should become a welcome addition to your library!

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Daily Dose Of Jazz…

Bruce David Gertz was born on December 15, 1952 in Providence, Rhode Island. He first learned to play guitar, then switched to bass guitar as a teenager, playing with local blues and rock groups.

He studied music formally at New England College and Berklee College of Music in the 1970s. After graduating from Berklee in 1976 he taught music there; he is now a professor of music. He worked with George Garzone in the Overtones in the late Seventies and was a co-leader of ensembles with Jerry Bergonzi from 1978 to 1989.

He has worked with Mike Stern both in the Bergonzi ensembles and with Stern’s own quartet. From 1982 to 1985 he was house bassist for the Willow Jazz Cafe in Somerville, Massachusetts. In the 1990s he worked with John Abercrombie, Joey Calderazzo, Ken Cervenka, Adam Nussbaum, Danilo Perez, Dan Reiser, Kurt Rosenwinkel, George Schuller, and others.

Double and electric bassist Bruce Gertz continues to perform.

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