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.
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.