Requisites

Cannonball Enroute ~ Julian “Cannonball” Adderley | By Eddie Carter

The weather outside was frightful because it was raining hard here in Atlanta. After the sun returned, it became a perfect time to hear the smooth alto sax of Julian “Cannonball” Adderley. He enters this morning’s spotlight with a 1961 album, Cannonball Enroute (Mercury Records MG 20616), backed by his quintet of Nat Adderley on cornet, Junior Mance on piano, Sam Jones on bass, and Jimmy Cobb on drums. My copy is the original U.S. Mono release. A Foggy Day by George and Ira Gershwin opens the album. The quintet starts at a medium beat, setting the stage for Cannonball’s lead solo. Nat picks up the pace in a muted reading until his brother returns to lead the ensemble out.

Hoppin’ John by Nat Adderley takes off with Junior’s speedy introduction ahead of the ensemble’s quick melody. Cannonball ignites the opening solo with a furious charge. Nat responds with plenty to say next. Junior follows with a rapid reading, and Jimmy shares the finale with the front line before the quintet makes a quick exit. 18th Century Ballroom by Nat Adderley and Ray Bryant begins with the ensemble’s pretty melody. Nat opens with a solo that’s quite compelling. Cannonball follows with a superb, articulate statement, then Junior gets the last word in an excellent reading leading back to the closing chorus and finale.

The group takes a trip aboard That Funky Train by Nat Adderley next. Sam and Jimmy get the train rolling with their introduction to the group’s theme. Sam has the first solo and walks with conviction. Junior is next with a very down-home presentation. Nat brings up the rear with a muted finale ahead of the reprise, and the rhythm section slowly dissolves into nothingness. Lover Man (Oh, Where Can You Be) by Jimmy Davis, Roger Ramirez and Jimmy Sherman starts Side Two with a solo showcase for Cannonball. The ensemble begins the introduction before the altoist steps in to deliver a tender melody and the song’s only statement until the group wraps it up.

I’ll Remember April by Don Raye, Gene De Paul, and Pat Johnson begins briskly with Jimmy’s introduction ahead of the quintet’s theme. Cannonball gets things going with a swift opening statement. Nat follows with a heated reading; then Junior takes over for a sparkling solo preceding the group’s return for the close. Porky by Cannonball and Nat Adderley is a fun tune that begins with the front line’s collective melody in a medium setting. Nat swings comfortably into the first interpretation; then Sam takes a relaxing turn in the following reading. Cannonball completes the solos with an attractive piece before the closing chorus ends with a Dixieland flavor.

The Way You Look Tonight by Dorothy Kern and Jerome Kern starts with Junior’s introduction to the quintet’s speedy melody. Cannonball surges into the lead solo like a whirlwind, and then Nat makes a blistering statement. Junior steps up next with an accelerated performance, and Jimmy engages in a brief exchange with both horns into the theme’s restatement and climax. It’s unknown who produced the session or who the recording engineer was, but the album’s sound quality is excellent with a clear soundstage.

Cannonball Enroute was Adderley’s fifth Mercury release and his third with this group. The quintet worked well as a cohesive unit but lasted only two years. He would return in 1959 with a new quintet after a brief time with Miles Davis that would become his most successful. If you’re a new or seasoned fan of Julian “Cannonball” Adderley and are in the mood for a wonderful hard bop album, I offer for your consideration, Cannonball Enroute on your next record shopping trip. It’s a great, if overlooked, album in his large discography that’s worth every penny for a spot in your library!

~ Cannonball’s Sharpshooters (Mercury Records MG 20531/SR 60208), Sophisticated Swing (EmArcy MG 36110) – Source: Discogs.com

~ A Foggy Day, I’ll Remember April, Lover Man (Oh, Where Can You Be), The Way You Look Tonight – Source: JazzStandards.com

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THE HEAVY HITTERS

Mike LeDonne piano | Eric Alexander tenor saxophone | Vincent Herring alto saxophone | Sean Jones trumpet | Alexander Claffy bass | Kenny Washington drums

The Heavy Hitters is the eponymous album from a brand-new sextet featuring some of the most established players in the jazz game. The group is led by Mike LeDonne, New York-based bop pianist best known for his sideman work with Milt Jackson and Benny Golson. His partner in crime, Eric Alexander (himself a first-rate soloist working with Harold Mabern amongst others) was his quartet-mate on a well-received series of releases on the Venus label in the mid-2000’s. The two friends came together for this, their first sextet release as leaders, featuring a set composed entirely of originals.

The music is built to tickle your mind, hit you in the heart and get your head swaying back and forth. The Heavy Hitters have been swinging hard their whole lives! It’s a true “Jazz” sound, recorded by some of the greatest jazz musicians of their generation.

“Together, these two ‘Heavy Hitters’ offer us a smokin’ hot production featuring five other heavy-hitters and a product plush with crème de la crème of both musicianship and original compositions.” – Dee Dee McNeil, Musical Memoirs

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JERRY BERGONZI

Jerry Bergonzi – Saxophone | Phil Grenadier – Trumpet | Sheryl Bailey – Guitar | Harvie S – Bass | Luther Gray – Drums

Tenor saxophonist, Jerry Bergonzi, is an internationally recognized jazz performer, composer, author and educator. His music is renowned for its innovation, mastery, and integrity. Relentless drive, inner fire, total command, awesome technique, elastic lyricism, rich resonance, world-class, a musical visionary, are among the rave reviews credited to his sound. Bergonzi’s music has been applauded throughout the world at festivals, concert halls, and jazz venues and his dedication to jazz music has been well documented by an extensive discography.

Born in Boston, Massachusetts, Bergonzi became interested in music early on. He started playing clarinet when he was eight years old listening to Duke Ellington, Count Basie, and Lester Young. His uncle, who was a jazz musician and lived upstairs, used to write out solos for him to play. At twelve years old he got his first saxophone, an old Conn alto, and a year later when a friend introduced him to Miles, Coltrane, and Sonny Rollins, there was no turning back! At thirteen, Jerry was already playing gigs with a band called The Stardusters. During his high school years he switched to tenor, and in addition to weekly sessions with Berklee College students, Jerry also played in John LaPorta’s youth band. He recalls, “It was a great experience, I learned so much, John would tell you like it was. He’d let you know what your shortcomings were, he would stop the band to tell you! “Bergonzi attended Lowell University but left after one year because he was continually being thrown out of the practice rooms for playing jazz. “If I had heard me practicing in one of those cubicles I might have thrown myself out!” he adds. He and fellow student, Charlie Banacos, used to begin their day in the practice rooms at 6:00 am. After a year at Berklee College, he returned to Lowell for financial reasons and graduated in 1971. He then played bass in local bands behind singers, strippers, and comedians, saving up enough money to move to New York City in 1972.

During 1972 and 1978 Bergonzi lived in New York City and experienced what he considers his real college education. There, where he had a third floor loft and friend and bass player, Rick Kilburn, lived on the first floor, was the scene of many sessions. “Often, there was one drummer, one bass player, and five saxophone players!” Bergonzi remembers. “Sometimes I was the drummer, each guy would tell a friend, everyone was hungry to play and it was great experience.” Joe Lovano, Steve Slagle, Billy Drewes, Paul Moen, Pat LaBarbera, Dave Liebman, John Scofield. Mike Brecker, Bob Berg, Tom Harrell, Steve Grossman, and Victor Lewis were a few of the many players who came to play.

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HOUSTON PERSON

He remains the King of the Boss Tenor Sax and nothing, it seems, can stop Houston Person, now in his sixth decade of performing. His latest recording (he’s released over 85 of them), as featured guest on Emmet Cohen’s Masters Series Vol. 5, has rocketed up the Jazz Week charts. In its 4-star review, AllAboutJazz.com applauds Houston’s “master’s flair for swing and blues.” A great friend of The Jazz Forum, Houston is a master’s master.

The tenor saxophonist and record producer. Although he has performed in the hard bop and swing genres, he is most experienced in and best known for his work in soul jazz. He received the “Eubie Blake Jazz Award” in 1982.

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Daily Dose Of Jazz…

Frank Fontaine was born June 12, in Los Angeles, California into a musical family, absorbing a great deal from his father Frank Sr., who is a ten year veteran of the Duke Ellington Orchestra. By age 16, he was performing with Harry Sweets Edison, Billy Higgins and Kenny Burrell. He has received his Bachelor degree from Seton Hall University, a Masters of Education from Boston University and is currently a Doctoral Candidate.

He released his debut album as a leader titled Wisdom Rising  on the LifeForce Jazz Records label with John Beasley, Robert Hurst, and Marvin “Smitty” Smith. A saxophonist of choice for an array of artists, Frank is equally in demand as a flutist and arranger, while leading his organ trio or quartet.

The New York jazz scene has seen Fontaine become a favorite among elite jazz instrumentalists Francisco Mela, Ari Hoenig, George Garzone, Larry Harlow and Chembo Corniel. His collaboration with Chembo produced a Grammy Award Nomination for the album, Things I Wanted To Do. He has recorded as a sideman with Patti LaBelle, Gladys Knight, Celia Cruz, Bobby Matos, Anita Baker, Gym Class Heroes, Charanga Cubana and Tyler Perry’s Soundtracks.

Saxophonist Frank Fontaine, who is an educator teaching music as well as leading band and orchestra at McAuliffe Middle School, continues to cultivate his musical prowess at The Manhattan School of Music, a conservatory second to none, in a city second to none.

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