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Here you have 2 bonus tracks not included in the original LP, making this recording even more special. on Bass (bassist with the awesome Bossa Tres)- Pedro Paulo on Trumpetand- Paulo Moura on Alto Sax (an already great sax player as well).This album is without a doubt a true collectible and a historical landmark for jazz, bossa nova and bossa-jazz aficionados.P.S. This album originally recorded in 1962 and under the title "Cannonball Adderley and the Bossa Rio Sextet with Sergio Mendes" (and with a totally different album cover as well), here, very well remastered via import in 1999, presents one of the best collaborations between North American jazzists and Brazilian Bossa Nova musicians in the 60's.In that category we have (among many others): Stan Getz-Joao Gilberto, Paul Winter-Carlos Lyra, Charlie Byrd-Luiz Bonfa, Frank Sinatra-Antonio Carlos Jobim and many more; but this recording, was one of the earliest ones and one of the best ones IMO, presenting a very rare but exquisite balance between Jazz techniques and Bossa Nova rhythms, playing exclusively Bossa Nova standards on both upbeat and downbeat tempos, and equally beautiful performances. The group is just flawless:- Cannonball Adderley in his always awesome Alto Sax- Sergio Mendes on Piano in one of his earliest professional recordings- Dom Um Romao on Drums (afterward he went on to play for Sergio in his groups and with Weather Report)- Durval Ferreira on Guitar and compositions (the guitarist and songwriter from Tamba Trio)- Octavio Bailly Jr.
I can't see many copies of that one being sold. Be sure not to get the 2006 Limited Edition for $23.99 though, the extra 14 dollars only ensures that you don't get the 2 bonus tracks (the alternate take of Corcovado and the single version of clouds). Marcelo Maciel has summed up all the details below, and this album really fits in very well with any general music collection. I actually like this Brazilian album more than any other of Cannonball Adderley's I've heard, and thankfully it ages like good wine and just gets better with time.
it's my favorite Latin music and my favorite Jazz music. I love Bossa Nova. This is quintessential Bossa Nova. and the best thing is that I'm learning so much just reading the other reviews here.
The first cut is very carefree and makes me feel as if I'm walking along the sandy beaches of Brazil. I've always been a fan of Cannonball's standard jazz work (esp. It's a good buy. A wonderful intro to Sergio Mendes. with Miles Davis), so I was delighted to hear about this CD. I'm also a fan of Sergio Mendes who plays piano on this CD.
The Getz's soft tone sound and the Byrd's complex and melodic improvisations contributed to this. His perfect technique allows the full exploration of his musical ideas. For the jazz lovers and for the brazilian music lovers this record is, farther indispensable, a great joy, a great example of good music, a. The Jazz-Samba genre, very expressive in the 60's, was inauurated, in Brazil, by Meirelles and the Copa 5 group, in the famous record with Luiz Carlos Vinhas and Pedro Paulo (piano and trumpet). so, listen it. Cannonball, a high quality saxophonist, complete the group. ASAP.
Following this line, "Cannonball's Bossa Nova" record brings a experienced drummer, Dom Um Romão, who also is present in the Sinatra/ Tom Jobim record. It is almost irresistible to compare Corcovado (Quiet Nights) in this record with Getz/Gilberto record, but both are great, each one with his qualities. Not in his "soul music" incursions, but in his great and pungent lyrical sense that he gives to the ballads ("Stars Fell in Alabama", in the "C.A Quintet in Chicago", 1959, is my preferred). This secure rhytmic support is noticed too in the Durval Ferreira's accompaniment, simple and, so, beatiful. The entire record gets a fine taste, but "Amor em Paz (Once I Loved)", lovely Jobim's melody, shows the great artist who is Cannonball Adderley.
In United States, the genre came in 1962 with Stan Getz and Charlie Byrd with the excellent "Jazz Samba", in which some brazilian music's pearls are explored with the sophistication of the guitar-tenor saxophone combination. His extrem softness and potent sonority (remembers Getz sometimes) and his bebop/bluesy musical speech, Charlie Parker's heritage, are perfect not to a bossa nova record, but for a jazz/bossa approach. This cool touch it's well perceived in Jobim's solos in the music "O Grande Amor" (Getz/Gilberto) and in the record "The Composer of Desafinado Plays" (1963), in which, almost always, only the right hand is used. It is irrefutable that the peak of this brazilian music fashion in USA came in 1963, with "Getz/Gilberto", in which the samba's broken rithmys, that was a non-solved problem in Jazz Samba, are well managed by Milton Banana. With Sergio Mendes, about his short solos, we have a paralell in the minimalistic improvisation of Jobim.
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