Cannonball Adderley in New York (1962) Riverside

Track Selection: Intro “on being hip” and Gemini (Jimmy Heath)

13 minutes – long, but live!


Nat Adderley (cor) Cannonball Adderley (as) Yusef Lateef (ts, fl, ob) Joe Zawinul (p) Sam Jones (b) Louis Hayes (d) recorded “Village Vanguard”, NYC, January 12 & 14, 1962 recording engineer Ray Fowler Mastered by Neal Ceppos, Plaza Sound Studios


Another laconic introduction by Adderley, musing to the audience at The Village Vanguard the difference between being hip and acting like you are supposed to be hip. Wannabe Hipsters would do well to pay heed to Cannonball’s advice, being hip isn’t a state of mind, it just happens that way. I confess I didn’t quite take in everything he said as I was busy in front of the mirror adjusting my beret. It’s not easy getting the angle just right, you hear what I’m sayin’?

The addition of Yusef Lateef, born with the career-limiting name of William Huddleston, extends range and texture to the group, but it’s Adderley’s high energy flowing alto solo that really swings, as always.

Though not here, Adderley sometimes played for contractual reasons under a variety of pseudonyms, including Buckshot La Funke, Jud Brotherly, Blockbuster and Ronnie Peters. Not hard to guess, apart from the last.

Other well-chosen Jazz  pseudonyms have included Jimmy Gloomy (James Moody on Tubby Hayes New York Visit) Phil Forest (Phil Woods) Art Salt (Art Pepper on Shorty Rogers “Cool & Crazy)  and most famously, Charlie Chan (Charlie Parker using his wife’s name Chan on Miles Collectors Items). Runner up prizes awarded to  Zeke Tolin (anagram of Lee Konitz on “Gil Evans +10”) and the pseudonym to die for,  Amanda B. Reckondwith (Ruth Underwood)

Less obvious pseudonyms have included  George Lane (Eric Dolphy on Coltrane’s Ole),  “Slim Romero” (Fats Navarro), I Ching (Freddie Redd on the alternative score to Music From The Connection) and  Jackie Mclean apparently  once recorded as “Ferris Bender” on Blakey’s 1957 Night in Tunisia.

In the grand tradition of protecting the guilty, I remain your humble scribe, The LondonJazzCollector.

Vinyl Riverside RLP 404 US original

US vinyl, possibly original first pressing from 1962, though possibly not. Apparently there is an undersized Riverside label and a normal sized label, but with very few US Riversides found in the UK I claim no special knowledge of the variation.

Collectors Corner

Source: eBay Location: UK

Description – not recorded so I’ll write my own.

Cover: VG++ some minimal edge wear but corners well formed and no writing, stains or tears. Slight yellowing of age – whaddya want, its over 50 years old for chrissake!.

Vinyl:  VG+  Good bright sound and  live atmosphere. Not the quietest of pressings – typical of US Riverside. Has the odd click and a few pops from general usage but nothing unduly intrusive and the music, which is great, always stays well on top.

9 thoughts on “Cannonball Adderley in New York (1962) Riverside

  1. Pingback: Garland Coltrane Byrd: Soul Junction (1957) Esquire | LondonJazzCollector

  2. Hi i also have the same matrix numbers RLP-12-404-A1 & RLP-12-404-B1 but my dad lived in NYC at the time so maybe this was an east coast one. He has written July 1962 on the back cover so am guessing this is when he purchased it and i know he used to go to the Village Vanguard a lot so probably saw them live as well.

    • Its good that your dad shared some of these experiences with you.You are fortunate.

      We know or think we know Riverside used different plants east and west coast, so anything is possible. One of these days it would be nice to match up all the runout engravings and see what stories it tells. With Blue Note up to 1966 its always Plastylite, with Prestige its mostly Abbey, except when its not. With Riverside, apart from Research Craft LA, who knows?

  3. Great track to listen to on a Sunday night like this: outside the rain is pouring down, inside the heater is slightly on, feet on the table and a marvellous glass of red wine right next to me. 😉

    I only wonder why on the back cover it says, quote: “Recorded ‘live’ at the Village Vanguard”. Why ‘live’ and not just live? I mean: it’s obviously a live recording, not some recording with canned applause added later on…

  4. I always thought Art Salt was a great pseudonym for Art Pepper that he used on the early Stan Kentons, he must have thought for ages before coming up with that one

    • You may be right Tony- the matrix on my copy indicates A-2 and B-2 and yours A-1 and B-1, which under normal circumstances means this copy is from a second master. But not so fast.
      This album was released after 1962, it can’t have sold so many copies it needed remastering. It is quite possible there were different masters or mothers made for East and West Coast pressings- US record manufacture and distribution was often geographically split between different plants. RCA famously had plants on East and West Coasts and in the Centre. We know Riverside pressed in a variety of locations by different plants. No-one would send the original tapes out to different plants, so I am guessing a series of intermediate copies were made (I am making this up as I go along, you can tell can’t you?)
      It is just possible they are both “first pressings”, according to location of manufacture.
      I ran out of knowledge, oooh, paragraphs ago.

      • Yes, maybe. Certainly the lack of the DG on your copy would tend to support the view that it was not stamped at the same pressing plant.

  5. Snap!

    I took delivery of a copy of this just last week…. But mine has the Deep Groove on the labels and matrix numbers: RLP-12-404-A1 & RLP-12-404-A1 in the runout…. Which I think must be a first pressing as the previous Riverside label didn’t have the INC on the label and was only used up until 1960…

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