Cannonball Adderley Money in the Pocket (Live)
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by Cannonball Adderley ~ Dizzy's Business (Live) ~ $13.48
by Thelonious Monk / John Coltrane ~ Thelonious Monk Quartet With John Coltrane At Carnegie Hall $16.55
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- Released: August 16, 2005
- Originally Released: 2005
- Label: EMI Mod Afw
Description by OLDIES.com:
The Cannonball Adderley quintet with brother Nat, Joe Zawinul, and new members Herbie Lewis and Roy McCurdy recorded live at The Club in Chicago in March 1966. An album was prepared and forgotten when the band came up with "Mercy, Mercy, Mercy." The newly-discovered tapes of that album and additional material from the date make up this great previously unissued 63- minute CD. Highlights include the debut of Joe Zawinul's "Requiem for a Jazz Musician," a revival of Adderley's slow blues "Hear Me Talkin' to Ya" from his first record date in 1955, a masterful version of "Star Dust," and an explosive version of "Fiddler on the Roof." An important find.
- 1.Money in the Pocket
- 3.Introduction to a Samba
- 4.Hear Me Talkin' to Ya
- 5.Requiem for a Jazz Musician
- 6.Cannon's Theme (aka Unit 7)
- 7.The Sticks
- 8.Fiddler on the Roof
Personnel: Cannonball Adderley (alto saxophone); Cannonball Adderley; Nat Adderley, Nat Adderley, Jr. (cornet); Herbie Lewis (bass instrument); Joe Zawinul (piano); Roy McCurdy (drums).
Audio Remixer: Ron McMaster.
Liner Note Author: Michael Cuscuna.
Recording information: The Club, Chicago, IL (03/19/1966/03/20/1966).
MONEY IN THE POCKET is a superb companion piece to Cannonball Adderley's immensely popular 1966 release MERCY, MERCY, MERCY! Recorded and released in the same year, both MERCY, MERCY, MERCY! and MONEY IN THE POCKET were recorded before live audiences, and both feature the crack band of Nat Adderley on cornet, Roy McCurdy on drums, and Joe Zawinul on keys. (MONEY has Herbie Lewis replacing Victor Gaskin on bass).
Here Adderley specializes in the sophisticated yet groove-oriented and accessible jazz on which he built his name. Two compositions by Zawinul--the hard-swinging title track and the delicate, Ellington-esque "Requiem for a Jazz Musician"--prove that the Austrian pianist was one of the most overlooked songwriting talents of the era, while Adderley's tunes--especially the fluid, propulsive "Introduction to a Samba"--are full of sprightly energy. There is plenty of stretching out from everyone involved, and the enthusiastic audience contributes to the spontaneous, free-flowing feel of this top-notch set of classic hard bop and soul jazz.
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