Cannonball Revisited

© -  Steven A. Cerra, copyright protected; all rights reserved.

The editorial staff at JazzProfiles couldn’t agree more with author Kenny Mathieson when he states “ … that Mr. Adderley’s Music was full of exhilaratingly naïve freshness and always swung hard.”

A case in point can be found in the blistering solo Cannonball uncorks on the following video which offers associative graphics from the crackerjack production team at CerraJazz LTD in support of an audio track featuring The Cannonball Adderley Quintet on bassist Sam Jones’ tune – Unit 7.

The solo that Cannonball takes from 1:00 – 2:55 minutes is full of invention, dazzling execution and breath-taking speed. Few Jazz alto saxophonists have ever played the instrument with such facility.

In what Mr. Mathieson calls “a model of Jazz research and scholarship,” Chris Sheridan in his Dis Here: A Bio-Discography of Julian “Cannonball” Adderley observes:

“Unlike some jazz musicians, Canonball’s style was a mirror image of his personality: large, eloquent, outgoing and above all predisposed to the sunnier side of life, despite a rare eloquence in interpretation of jazz's most basic material, the blues. It was a sense of optimism in much of his playing that echoed that of trumpeter Clifford Brown.”

Bassist Sam Jones graciously allowed the name of his tune to be altered to Cannon’s Theme and you can hear it once again performed in the following video tribute to Cannonball, this time with Yusef Lateef’s addition on tenor saxophone making the group into a short-lived sextet [Charles Lloyd had preceded him on tenor and flute].

After Cannonball does the closing introductions, Yusef really gets it going on this version of the tune with a rollicking solo beginning at 1:29 minutes.

Quincy Jones: A Reminiscence

© -  Steven A. Cerra, copyright protected; all rights reserved.

“I remember playing with Lionel Hampton—who was really the first rock 'n' roll bandleader, even though he had a jazz background—and we were at the Bandbox in New York City, which was next door to Birdland. Clifford Brown, Art Farmer and I were in the trumpet section. We had to wear Bermuda shorts with pur­ple jackets and Tyrolian hats, man, and when we played "Flying Home," Hamp marched the band outside. You have to imagine this—I was 19 years old, so hip it was pitiful, and didn't want to know about anything that was close to being commer­cial.

So Hamp would be in front of the sax section, and beating the drumsticks all over the awning, and soon he had most of the band behind him. But Brownie and I would stop to tie our shoes or do something so we wouldn't have to go outside, because next door was Birdland and there was Monk and Dizzy and Bud Powell, all the bebop idols standing in front at intermis­sion saying, "What is this shit?" You'd do anything to get away.

I was always on the edge. Even as a kid in Seattle, we'd play anything, for strip­pers, for comedy acts, while at the same time harboring our love for bebop. At that time you didn't want to communicate, but then you had to get it out of you. Herbie Hancock said he had the same problem. It's like that old Sid Caesar joke: "We used to have radar in the band to let us know when we got too close to the melody." It was that kind of attitude.”

Frank Alkyer and Ed Enright, Downbeat – The Great Jazz Interview: A 75^th Anniversary Anthology, pp. 233-234.

Aboard the "S.S. Groove" with Cal Tjader

“The vibraphone invites overplaying almost by its very nature. … Unlike a horn player, the vibraphonist is unable to sustain notes for very long, even with the help of vibrato and pedal. The vibes invite overplaying to compensate for such limitations. Added to these difficulties is the fact that … [they are played with] a hitting motion powered by the wrists. With the mastery of a steady drum roll, the aspiring vibraphonist is already capable of flinging out a flurry of notes and, given the repetitive motions used to build up drum technique, the vibes player is tempted to lock into a ‘steady stream’… [of notes].

Tjader’s playing, however, was nothing like this. Although he was a drummer and percussionist by background, he seemed to draw on the instincts of a horn player in shaping his improvised lines. They did breathe.” [West Coast Jazz: Modern Jazz in California, 1945-1960, p.103].

Cal always maintained that his two main influences on vibes were Lionel Hampton and Milt [“Bags’] Jackson. “Hamp” was a banger and “Bags” was a bopper and a blues player without equal. How in the world did Cal fuse such dissimilar styles?

Ted Gioia also notes this divergence and takes this point a step further:

“These disparate strains in his playing came out most clearly in his Jazz work. Where Tjader melded them into a melodic, often introspective style that was very much his own. Even when playing more high-energy Latin numbers Tjader kept a low-key demeanor, building off the intensity of the rhythm section rather than trying to supplant it. For the most part, he came across as an introvert on an instrument meant for extroverts.” [Ibid, pp.103-104].

Paul van Kemenade and The Metropole Orchestra - FREEZE!

© -  Steven A. Cerra, copyright protected; all rights reserved.

For more than 30 years Paul van Kemenade has been one of the very active figures in the Dutch world of Jazz and improvised music; first and foremost as alto saxophonist but also as a band leader, workshop leader, composer and organizer.

Since 1979 he has been leading his own formations and has written his own music. He has played in different existing ensembles and has performed in various ad hoc forma­tions. In 1982 he founded his own quintet with which he is still performing both in the Netherlands and abroad. He has not shied away from playing in various musical disci­plines and has organised the, by now, famous festival "Stranger than Para..noia".

Paul van Kemenade can be heard on many records and CD's of which several have been produced under his own name. He has won many prizes and in 2000 he was awarded the prestigious Boy Edgar Prize for his contribution to Jazz in the Netherlands.

"I was very honored to be invited by the Metropole Orchestra to realize a project with my own compositions, which were orchestrated by two arrangers of my own choice and performed by a symphonic orchestra and big band with 53 musicians.

This offered an excellent opportunity for me to make my music symphonic. It has been a very special and instructive experience and I would especially like to thank Jim McNeely and Niko Langenhuijsen for their beautiful arrangements and the Metropole Orchestra conducted by Vince Mendoza for its wonderful performance."

The following video features Paul’s composition “Freeze” as performed by Paul on alto saxophone with The Metropole Orchestra conducted by Vince Mendoza. The arrangement is by Jim McNeely with additional solos by the orchestra’s resident guitarist, Peter Tiehuis and tenor saxophonist Leo Janssen.

Oscar, Ray and Ed - "My Heart Stood Still"

For many years they were simply known as - THE TRIO - and during their time together, pianist Oscar Peterson, bassist Ray Brown and drummer Ed Thigpen were simply just that.

Steve Lacy

"Back then you didn't have to be paid to play, and you didn't have to pay to get in to hear other people play. That was a golden age. Music was accessible and all the giants were on the scene, and there was a truth—the menu was much smaller than now. Everybody—all the different schools of players were active and in their peak. I worked with people from New Orleans, from Chicago, from Kansas City. These people were in their 50s and 60s, and then there were the young radicals, the experimentalists, and the traditionalists. You couldn't get away with any funny business. If there was a new bass player in town all the other bass players would come check him out. Everybody knew who could play and who couldn't. Now it's just a sort of flim-flam going on—most of the giants are gone really. But back then, it was a very beautiful time."


As quoted in Stephanie Stein Crease, Gil Evans Out of the Cool: His Life and Music [p. 219].

Onzy Matthews: L.A. and Dallas Blues

© -  Steven A. Cerra, copyright protected; all rights reserved.

“He was an incredibly imaginative arranger, especially when it came to varied and vivid blues compositions. Hopefully with the release of this material, his work will receive some degree of the recognition it deserves.”

- Michael Cuscuna

I got to know Onzy Matthews a bit during his time in Los Angeles earlier in his career. He was involved as an actor in some TV soundtrack gigs that I worked on.

Onzy had a rehearsal band which used one of the practice rooms at the Musician Union Hall at Local 47 in Hollywood, CA and one day he literally called over the fence to me as I was packing my drums in the car in the parking lot at the adjacent Desilu studios to “come by and play a few tunes with the band.”

He was a groovy pianist and a superb composer-arranger who wrote charts that had flair and that swung like mad.

Many years later, I also ran into him at a restaurant in Dallas, his hometown, which was located close to a hotel that I often stayed at for business purposes.

One night, while I was waiting for my clients, we reminisced a bit over a drink in the bar. On that occasion, I remember him ruefully remarking: “They didn’t know me then and they don’t know me now.”

I always found it rather amazing that a musician with so much talent could be relegated to so much obscurity.

Which is why I was thrilled and delighted when Michael Cuscuna and his team at  Mosaic Records issued Onzy Matthews: Mosaic Select (MS-029), a 3 CD set in a limited edition of 5,000 which sells for $44.00. You can visit Mosaic's website by way of this link.

Here are Michael’s annotations to the set and some of the remarks of the Jazz fans who have purchased the set.

© -  Michael Cuscuna/Mosaic Records, copyright protected; all rights reserved.

“The brilliant West Coast arranger Onzy Matthews was a master of the blues in many hues. He contributed to important recordings by Lou Rawls, Ray Charles and Esther Phillips, but his career never caught fire and, after working for the Duke Ellington orchestra as both a pianist (when Duke was ill) and an arranger, he spent much of his later years in Europe.

Onzy made two albums for Capitol, the first of which Blues With A Touch Of Elegance is considered by many to be a big band masterpiece. This set collects those albums plus 29 previously un-issued Capitol tracks by Matthews. They include an album of jazz sambas and four-tune session of tunes from Blues With A Touch Of Elegance with Richard Groove Holmes as the principal soloist.

These big band sessions include soloists Sonny Criss, Gabe Baltazar, Curtis Amy, Clifford Scott, Dupree Bolton, Bobby Bryant, Bud Brisbois, Lou Blackburn, Ray Crawford and Richard Groove Holmes. An added bonus is the legendary, previously un-issued two-tune session by Earl Anderza and Dupree Bolton for Pacific Jazz.

Onzy Matthews died in relative obscurity in 1997 in his native Texas. Beyond the few sessions he arranged for other artists, these Capitol sessions made between 1963 and '65 are his only recorded legacy.”

	TOP SHELF
I have the vinyl recording of "A Touch of Elegance" and after seeing this 3 CD set, I had to have it. A MUST have for the '60's Jazz and Blues Fan. After hearing 'Bud' playing 'Flamingo' without the hiss and scratch of vinyl, I was reminded of the passing of Him and Maynard all over again. Too bad Onzy wasn't able to record more.
	Mr. O
I've been enjoying this set. The musicians are excellent, and Onzy has a distinctive voice as an arranger/composer. I could do without some of the more commerical tracks but most of the set is a real treat for this long time big band fan.
	Nah
Nah, this set couldn't have been one CD. Maybe two - maybe. There's lots of good music in addition to the wonderful "A Touch of Elegance" session.
	Good Stuff
There's not much big band music out there period that is at the level of "Blues with a Touch of Elegance." I also listen to the first disc a lot, especially the latin influenced material. The third disc is uneven but throughout the whole select the players are a pleasure to listen to, even with some of the more commerical stuff on the last disc.
	Could have been one CD
"Blues with A Touch of Elegance", Onzy's masterpiece is on CD2 of this set. Unfortunately, the rest of the 3CD set is not up to the level of this session: CD1 and CD3 are mostly commercially oriented recordings. But for those who are looking for rare Big Band gems, CD2 is worth the price of the set. Amazing lead Tpt from Bud Brisbois (check out "Flamingo"). Rare recordings of the great guitarist Ray Crawford (from Gil Evans "Out of The Cool") The spare but rich arrangements give the musicians room to blow. When Duke was sick at the end of his life, Onzy replaced him in the Duke Ellington Orchestra. That fact alone should motivate many to check out this set.
	Continually
a pleasure to listen to. Sophisticated big band music.
	I'm ALWAYS amazed......
how MUCH great music is out there that I had NEVER heard of...I hadn't heard of Onzy before gettin' this set on Ebay....Excellent in everyway...tight arrangements...CD #1 is my personal favorite, it has a "cool, 60's, let's have a cocktail" feel to it...
	Big Band
Subtle section playing, great arranging for the horns and saxes. The bands are sharp, well rehearsed, and up for the gigs. This is wonderful big band music.
	Onzy
Onzy's a cool dude. Sophisticated arrangements, great soloists, terrific bands. If you like big band jazz, check this one out.
	A True Representation of Dallas Jazz!!!
As a native Dallassite and musician I remember all too well Onzy Matthews, he's a legend in Dallas!!! And now the world can hear this great artist's work for themselves!
	Buy It!
Cuscuna strikes again! Incredible liner notes written by Michael himself, a beautiful 24 bit mastering job by Ron McMaster (yep that McMaster) and these words: "For all his years as a musician, the only documentation of Matthews' music lies essentially in these Capitol sessions and the outstanding albums he arranged for Lou Rawls and Esther Phillips. He was an incredibly imaginative arranger, especially when it came to his varied and vivid blues compositions. Hopefully with the release of this material, his work will achieve some of the recognition it deserves. Michael Cuscuna 2007 I could comment on all 51 pieces on this CD set, 1/2 the Band is full of ex Kenton guys, including Jerry McKenzie # 1 on the first CD, but all I can say is BUY IT!
	Neat
This is a good one. If you have the Gerald Wilson Box Set this is a wonderful compliment to it. The quality of the arrangements and the consistently interesting bands are on par with Wilson, which means excellent West Coast musicians. Lots of great solos. I think Matthews is somewhat lower key and more reflective than Wilson, which I like. The audio clips are very representative of the overall feel and quality of the performances in this select. Even the more popular tracks are interesting because Matthews tended to let the soloist loose. Neat Select.

Milt Jackson 1923-1999: A Tribute

Turn up the volume for this one as vibraphonist Milt Jackson's is "Bopag'in" with some of today's finest, young Jazz musicians: Nicholas Payton on trumpet, Joshua Redman on tenor saxophone, Benny Green on Piano, Christian McBride on bass and Kenny Washington on drums. A stellar performance from start to finish by all concerned.