The Cannonball Adderley Quintet - Why Am I Treated So Bad! (2006)
The Cannonball Adderley Quintet - Why Am I Treated So Bad! (2006)
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 407 MB. & 151 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (2006) | Label: Capitol Records | Catalog# 0946-3-52991-2-0 | 61:02 min.
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 407 MB. & 151 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (2006) | Label: Capitol Records | Catalog# 0946-3-52991-2-0 | 61:02 min.
~wikipedia
Why Am I Treated So Bad! is a live album by the Cannonball Adderley Quintet, recorded at the Capitol studios in Los Angeles in 1967. The song "I'm on My Way", was written by his nephew Nat Adderley, Jr., who at the time was an 11-year-old living in Teaneck, New Jersey.
Review by Thom Jurek ~allmusicTracklist:
By any stretch of the imagination, it would have been hard for Cannonball Adderley to follow up the stunning Mercy, Mercy, Mercy! with anything quite as strong or inspired. This set follows the exact same m.o. Producer David Axelrod invited a group of friends into the Capitol studios, supplied them with free booze, warmed them up, and brought out the band (the same lineup: bassist Victor Gaskin, drummer Ron McCurdy, pianist Joe Zawinul, cornetist Nat Adderley, and Cannonball on alto) to tear into a group of covers and originals. The better moments here include the Latin-tinged "I'm on My Way" (written by Nat and featuring a beautifully lyrical solo by him) and a cool little read of the Pops Staples tune the album is titled for (featuring a killer little Rhodes piano part by Zawinul with a mournful dual head by Cannonball and Nat). The other hard groover is Nat's "The Other Side," which takes the outside track in Cannonball's solo. Zawinul's tunes are starkly more original in contrast – particularly "One for Newk" – but sound less inspired somehow. The CD version issued by Capitol in 2006 contains two bonus tracks with workmanlike versions of Jimmy Heath's fine "Heads Up! Feet Down!" and an overly long take on the Blane-Martin standard "The Girl Next Door." The album doesn't quite live up to its predecessor, but it is a burner and Adderley fans are likely to want to own it.
01. Introduction (0:13)
02. Mini Mama (6:42)
03. I'm On My Way (7:49)
04. Why Am I Treated So Bad (7:47)
05. One for Newk (5:16)
06. Yvette (2:22)
07. The Other Side (9:04)
08. The Scene (2:40)
09. Heads Up! Feet Down! (7:00)
10. The Girl Next Door (12:08)
The Cannonball Adderley Quintet - Why Am I Treated So Bad! (2006)
Personnel:
Cannonball Adderley - alto saxophone
Nat Adderley - cornet
Joe Zawinul - piano & electric piano
Victor Gaskin - bass
Roy McCurdy - drums
~allAboutJazz
Born: September 15, 1928 | Died: August 8, 1975 | Instrument: Alto Saxophone
Both as the leader of his own bands as well as an alto and soprano saxophone stylist, Julian Edwin “Cannonball” Adderley was one of the progenitors of the swinging, rhythmically robust style of music that became known as hard-bop.
Born September 15, 1928, into a musical family in Florida, Adderley was drafted into the U.S. Army in 1950. He became leader of the 36th Army Dance Band, led his own band while studying music at the U.S. Naval Academy and then led an army band while stationed at Fort Knox, Kentucky. Originally nicknamed “Cannibal” in high school for his voracious appetite, the nickname mutated into “Cannonball” and stuck.
In 1955, Adderley traveled to New York City with his younger brother and lifelong musical partner, Nat Jr. (cornet). The elder Adderley sat in on a club date with bassist Oscar Pettiford and created such a furvor that he was signed almost immediately to a recording contract and was often (if not entirely accurately) called “the new Bird.”
Adderley's direct style on alto was indebted to the biting clarity of Charlie Parker, but it also significantly drew from the warm, rounded tones of Benny Carter; hard swingers such as Louis Jordan and Eddie “Cleanhead” Vinson were important influences as well. Adderly became a seminal influence on the hard-driving style known as hard-bop, and could swing ferociously at faster tempos, yet he was also an effective and soulful ballad stylist.
From 1956-57, Adderley led his own band featuring Nat, pianist Junior Mance and bassist Sam Jones. The group broke up when he was invited to join the Miles Davis Quintet in 1957. Davis expanded his group to a Sextet soon thereafter by hiring saxophonist John Coltrane. “I felt that Cannonball's blues-rooted alto sax up against Trane's harmonic, chordal way of playing, his more free-form approach, would create a new kind of feeling,” Davis explained in his autobiography.
From 1957-59, Adderley recorded some of his best work on the landmark Davis albums Milestones and Kind of Blue within this sextet. Davis reciprocated with a guest appearance on Adderly's 1958 solo album Somethin' Else, which also included bassist Jones, pianist Hank Jones, and drummer Art Blakey.
Adderley left the Davis band to reform his quintet in 1959, this time with his brother, Sam Jones, pianist Bobby Timmons and drummer Louis Hayes. Yusef Lateef made it a sextet around 1962; pianist Joe Zawinul replaced Timmons around 1963. Other band alumni include Charles Lloyd, and pianists Barry Harris, Victor Feldman and George Duke.
Adderley recorded for Riverside from 1959-63, for Capitol thereafter until 1973, and then for Fantasy. He suffered a stroke while on tour and died on August 8, 1975. He can also be found on recordings led by Bill Evans, John Coltrane, Wes Montgomery, Art Blakey and Oscar Peterson, and collaborated with singers Sarah Vaughan, Dinah Washington, Joe Williams, Lou Rawls, Sergio Mendes and Nancy Wilson.
During the period when the burgeoning development of polyrhythms and polytonality threatened to make jazz harder for non-musicians to appreciate, the Cannonball Adderley bands (much like bands led by Art Blakey and Horace Silver) helped preserve the music's roots in the more readily understood (and more funky) vocabulary of gospel and blues.
Born: September 15, 1928 | Died: August 8, 1975 | Instrument: Alto Saxophone
Both as the leader of his own bands as well as an alto and soprano saxophone stylist, Julian Edwin “Cannonball” Adderley was one of the progenitors of the swinging, rhythmically robust style of music that became known as hard-bop.
Born September 15, 1928, into a musical family in Florida, Adderley was drafted into the U.S. Army in 1950. He became leader of the 36th Army Dance Band, led his own band while studying music at the U.S. Naval Academy and then led an army band while stationed at Fort Knox, Kentucky. Originally nicknamed “Cannibal” in high school for his voracious appetite, the nickname mutated into “Cannonball” and stuck.
In 1955, Adderley traveled to New York City with his younger brother and lifelong musical partner, Nat Jr. (cornet). The elder Adderley sat in on a club date with bassist Oscar Pettiford and created such a furvor that he was signed almost immediately to a recording contract and was often (if not entirely accurately) called “the new Bird.”
Adderley's direct style on alto was indebted to the biting clarity of Charlie Parker, but it also significantly drew from the warm, rounded tones of Benny Carter; hard swingers such as Louis Jordan and Eddie “Cleanhead” Vinson were important influences as well. Adderly became a seminal influence on the hard-driving style known as hard-bop, and could swing ferociously at faster tempos, yet he was also an effective and soulful ballad stylist.
From 1956-57, Adderley led his own band featuring Nat, pianist Junior Mance and bassist Sam Jones. The group broke up when he was invited to join the Miles Davis Quintet in 1957. Davis expanded his group to a Sextet soon thereafter by hiring saxophonist John Coltrane. “I felt that Cannonball's blues-rooted alto sax up against Trane's harmonic, chordal way of playing, his more free-form approach, would create a new kind of feeling,” Davis explained in his autobiography.
From 1957-59, Adderley recorded some of his best work on the landmark Davis albums Milestones and Kind of Blue within this sextet. Davis reciprocated with a guest appearance on Adderly's 1958 solo album Somethin' Else, which also included bassist Jones, pianist Hank Jones, and drummer Art Blakey.
Adderley left the Davis band to reform his quintet in 1959, this time with his brother, Sam Jones, pianist Bobby Timmons and drummer Louis Hayes. Yusef Lateef made it a sextet around 1962; pianist Joe Zawinul replaced Timmons around 1963. Other band alumni include Charles Lloyd, and pianists Barry Harris, Victor Feldman and George Duke.
Adderley recorded for Riverside from 1959-63, for Capitol thereafter until 1973, and then for Fantasy. He suffered a stroke while on tour and died on August 8, 1975. He can also be found on recordings led by Bill Evans, John Coltrane, Wes Montgomery, Art Blakey and Oscar Peterson, and collaborated with singers Sarah Vaughan, Dinah Washington, Joe Williams, Lou Rawls, Sergio Mendes and Nancy Wilson.
During the period when the burgeoning development of polyrhythms and polytonality threatened to make jazz harder for non-musicians to appreciate, the Cannonball Adderley bands (much like bands led by Art Blakey and Horace Silver) helped preserve the music's roots in the more readily understood (and more funky) vocabulary of gospel and blues.
The Cannonball Adderley Quintet - Why Am I Treated So Bad! (2006)
Cannonball Adderley (1928 - 1975)
Produced by David Axelrod
Recording Engineer: Joe Polito
Recorded live on March 6 (#1-4), March 23 (#5-8), and July 24 (#9 & 10); 1967 at Capitol Studios, Los Angeles, CA
Reissue produced by Michael Cuscuna
Remixed from the original three-track tapes using 24-Bit technology by Ron McMaster
Tracks #1-8 originally issued as Capitol ST-2617
Tracks #9 & 10, previously unissued
EAC extraction logfile from 24. July 2006, 20:48 for CD
Cannonball Adderley / Why Am I Treated So Bad!
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Track 10
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No errors occured
End of status report
Cannonball Adderley / Why Am I Treated So Bad!
Used drive : PLEXTOR CD-R PX-W4824A Adapter: 1 ID: 0
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 98
Overread into Lead-In and Lead-Out : Yes
Used output format : C:\Program Files\Exact Audio Copy\flac.exe (User Defined Encoder)
320 kBit/s
Additional command line options : -8 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" -T "comment=EAC Flac 1.1.2a -8" %s
Other options :
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Native Win32 interface for Win NT & 2000
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Copy CRC 81E23ABA
Copy OK
Track 2
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Copy OK
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Copy OK
Track 4
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End of status report
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[CTDB TOCID: PKqWksIzCvYy_axHLTla.VOa7Mk-] disk not present in database.
[AccurateRip ID: 001424bd-00a64615-840e4d0a] found.
Track [ CRC ] Status
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03 98,9 [5AED860C] [DD4E370A] CRC32
04 98,9 [606513A7] [7089CF1D] CRC32
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07 96,6 [3972C304] [75A51EA9] CRC32
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10 98,9 [EF500BA7] [7FEE9789] CRC32
Thanks to the original releaser.
The Cannonball Adderley Quintet - Why Am I Treated So Bad! (2006)
(all links are interchangeable)