Cannonball Adderley - In The Land Of Hi-Fi

Julian "Cannonball" Adderley fired his first shot, a salvo heard throughout the entire world of jazz, when his initial album (MG 36043) was released less than a year ago. Soon after, he was featured in a quintet session under the leadership of his brother, Nat , on the Wing label; more recently, "Cannonball" was featured with a string ensemble, arranged and conducted by Richard Hayman, in an impressive set of performances on standard tunes, (MG 36063). These albums, further implemented by guest appearances with Sarah Vaughan and other visitors to the Land of Hi Fi, succeeded in their objective of establishing "Cannonball' as a major new jazz talent.

With the present excursion of the Adderley brothers and their cohorts to the Land of Hi Fi, "Cannonball" returns approximately to the same format and setting featured on his first album. Ernie Wilkins served as conductor and arranger. Like Quincy Jones, who was the musical director on the first Adderley session, Ernie recently returned from a tour of the Middle East, during which he played in the all-star band sponsored by the State Department and led by Dizzy Gillespie. On returning home, he put down the saxophone, picked up the pen and went promptly to work on this album, recorded in June, 1956 with the following participants: Nat Adderley, cornet; Ernie Royal, trumpet; "Cannonball" Adderley, alto sax; Jerome Richardson, tenor sax and flute; Danny Bank, baritone Sax; Jimmy Cleveland and Bobby Byrne, trombones; Junior Mance, piano; Charlie "Specs" Wright, drums; Keeter Betts, bass.

Most of the tunes heard on these sides had never been recorded before.

To sum up, this is a lively, swinging session of unpretentious modern jazz that will serve further to consolidate "Cannonball's" reputation as one of the big guns in contemporary music. *(Liner notes)*

He's got a whole freakin' orchestra in this one sounds like. It is a pretty big ensemble compared to most hard bop artists. But it sounds damn good. He's got some sweet hard bop swinging sounds. There's one original tune here and the rest are penned by some other famous jazz and standard writers. I highly recommend this release. ✤ Stylistically, somewhere between Miles Davis' "Birth of the Cool" recordings and Doc Severinsen. The arrangements are mostly fairly restrained, and then Cannonball jumps in and tears the place apart. Around this time, Miles noticed Cannonball and recruited him into his group shortly thereafter. ✤ A set of short but VERY potent swinging songs that Cannonball just has a blast improvisiing over. The overall style tends more towards the West Coast style of jazz but still has plenty of fire, with very colorful and bright-hued arrangements. The major departure from this style occurs on the gruff bluesy "I Don't Care", which features the snide, growling sarcastic flute of one Jerome Richardson, one of my favorite tracks actually. Very recommended. *rateyourmusic reviews*

The title's a bit of a mouthful, but a good description of the way Cannonball was presented in the years before his soul jazz groove firmly kicked in! The "hi fi" is a bit overstated -- as the album's pretty much of a straight jazz record, featuring Cannon blowing lead solos in a large group arranged and directed by Ernie Wilkins. Bother Nat's on cornet, and other players include Jerome Richardson, Junior Mance, and Jimmy Cleveland. Titles include "Junior's Tune", "Blues For Bohemia", "Dog My Cats", "T's Tune", and "Casa De Marcel".  *dustygroove.com*

Side 1

1 - Dog My Cats

(Ernie Wilkins)

2 - I'm Glad There Is You

(Madeira, Dorsey)

3 - Blues For Bohemia

(Julian and Nat Adderley)

4 - Junior's Tune

(Junior Mance)

5 - Between The Devil And The Deep Blue Sea

(Koehler, Arlen)

Side 2

6 - Casa De Marcel

(Marcel Daniels)

7 - Little Girl Blue

(Rodgers, Hart)

8 - T's Tune

(Thomas Turrentine)

9 - Broadway At Basin Street

(Wayne, Frisch)

10 - Just Norman

(Wright)

11 - I Don't Care

(Ray Bryant)

Julian "Cannonball" Adderley (alto sax); Nat Adderley (cornet); Danny Bank (baritone sax); Jerome Richardson (tenor sax, flute); Ernie Royal (trumpet); Jimmy Cleveland, Bobby Byrne (trombones); Junior Mance (piano); Keeter Betts (bass); Charlie "Specs" Wright (drums), Ernie Wilkins (conductor and arranger).

Recorded at Capitol Studios, New York City, June 8 (#5, #7, #9, #10), June 16 (#1, #2, #4, #6) and June 18 (#3, #8, #11), 1956.