Guest Column: More Adderley/Evans
Here’s a guest column from Ceedee, a regular commenter here at Jazz Collector, based on the item I wrote yesterday about the Cannonball Adderley/Bill Evans LP Know What I Mean? on Riverside.
“Greetings! The Cannonball/Evans LP is a favorite of mine, just beautiful. Thought you would like this review I wrote some time back for a Martin Logan owner Website under my other alter ego, Miles Ahead. – ceedee
The month of February, 1961 was a busy one for Bill Evans. It saw him finish a recording session with his critically acclaimed trio – that with Scott LaFaro and Paul Motian – which was issued as Explorations (Feb. 2)), bolster a date rightfully called a classic by any measure, Oliver Nelson’s Blues And The Abstract Truth (Feb. 23) and also find the time to accompany his old bandmate from the Miles Davis Sextet, Cannonball Adderley. Cut on Feb.21, this was one of three sessions that would eventually yield Know What I Mean? for Riverside. It does not match up to the other dates mentioned (how many records could?), but proves itself worthy of a listen and not just for the Bill Evans fan (not that there’s anything wrong with that!)
Cannonball and Bill were ‘simpatico’ while with Miles — the seminal Kind Of Blue was not yet two years behind them – and their musical bond continues here. Evans’ Waltz For Debby leads off the date, an interesting choice. Nearly six months before
the Sunday At The Village Vanguard recordings that would popularize the tune amongst the jazz public, it was leading off an album by another musician who surely had a large book of his own compositions to choose from. Clearly, a measure of the respect that Adderley held for both the tune and its composer.
Both artists shine on Debby and it’s a kick hearing Bill’s loving intro give way to Cannon’s alto. Adderley is in a singing mood and there’s a point towards the middle of his solo where he plays a motif that laughingly reappears as the intro to Evans’ own brief, logically structured exposition. This track left me wanting more Bill Evans – always a good thing. Incidentally, this disc – a Japanese issue – has only the tracks first put out at the time. More current releases of the session have an alternate version of Who Cares? The sound itself is acceptable, but typical of the period – muffled drums, etc. (at least, as far as Riverside is concerned!) This is one to get for the sounds…not the sound!
The rhythm section is bolstered by half of the MJQ — Percy Heath and Connie Kay – and their lock-step precision is, in a way, what enables both Evans and Cannonball to soar above the fray. This they do on the up-tempo Who Cares? and Toy, a Clifford Jordan tune that should be played more often. Nancy (With The Laughing Face) and the mournful Goodbye remind the listener that some of Cannonball’s most memorable ballad performances were recorded while Bill Evans was at the piano. Lastly, check out Venice, a gorgeous piece by John Lewis that is the proverbial melody in search of a lyric! Any lyricists out there? Percy Heath’s ‘deep’ chordal intro leads to Cannon’s alto, which has as restrained – and intimate – a sound as he’s ever recorded. He never strays far from the melody line, while Evans toys with it just a bit, playing like someone standing on the edge of a beach, sticking one toe in at a time as the water recedes. The tune ends before either Evans or the attentive listener (that’s us), gets any wetter!
Yes, February of 1961 should have been a rewarding time for Bill Evans personally as well as artistically. Yet, images from the period show a gaunt, pale figure — sunglasses affixed – which reminds us what he was also dealing with at the time: Personal demons that were never far away, regardless of his creative success.
In spite of it all on Know What I Mean Evans was able to again prove himself the perfect foil for Cannonball Adderley. It was also a period of private trials and challenges, although the moment of his most difficult trial — the tragic death of Scott LaFaro – was only a few months away.”
A lovely piece of work, Ceedee. Thank you. I immediately pulled out my copy of the CD after Al mentioned it and now while reading your piece, I played it again. Of course the CD comes with bonus cuts: Know What I Mean, takes 7 and 12. Also worth a listen. One thing is true, this is one of those seminal albums that simply has to be in one’s cabinet 🙂
Mattyman, The Netherlands.
indeed,when reading such a nice piece about an artist or lp, makes you grab the album of your shelves, and listen to it, sometimes with ‘new’ ears…thanks ceedee!.
I also wanted to pull it out, but could not find it. Instead listened to Bill on Tadd Dameron’s “THe Magic Touch” RLP 419. I always thought Tadd played the piano on this one, but it is Bill Evans!
It would be interesting to make a compilation of all Bill’s appearances as a side man.
Found “Know what I mean” this morning in the U.K. section. A superb U.K. Fontana pressing of this Riverside album, with blue label. Enjoyed the music.
i like his work as a side man with george russel…
wouldn’t now manny side jobs of him. miles davis, cannonbal, kai windig,…and a helen mirrell lp…. tony scott… euh…??
gee, Maarten, you are rather complete, if not complete. Oh, there is the Oliver Nelson album on Impulse, but I cannot think of anything else. I like Bill esp. on the N.Y. / Decca album by George Russell. Talking about Decca, there is # 9209 – Hal McKusick, with Bill on all tracks. There are certainly more. Who’s next?
Off the top of my head . . . there is an album by a vocalist named Lucy Reed. Also, Modern Art by Art Farmer. I’m sure there are more.
Just thought of another: Benny Golson, Just Jazz on Audio Fidelity. Also features Wayne Shorter.
1954 jerry wald:and his orchestra mgm/lion 70014
1955 jerry wald:listen to the music of j.wald kapp 1043
lucy reed:the singin’ reed fantasy 3-212
dick garcia:a message from garcia dawn 1106
1956 g russell:jazz workshop victor 1372
tony scott:the touch of tony scott victor1353
t scott:the complete t scott victor 1452
1957 gunther schuller:brandeis jazz festival columbia 127
don elliott:at newport verve 8237
joe puma:trio and quartet jubilee 1070
c mingus:easr coasting bethlehem 6019
jimmy knepper:a swinging introduction bethlehem 77
sahib shihab:jazz sahib savoy 12124
tony scott:the modern art of jazz seeco 425+free blown jazz carlton 12/113+my kind of jazz perfect 12010
prestige all stars:roots new jazz 8202
1958 eddie costa: guys and dolls like vibes coral 57230
don elliott:the mellosound of d elliott decca 9208
helen merrill:the nearness of you emarcy 36134
hal mckusick:cross section saxes decca 9209
michek legrand:legrand jazz columbia 1250
cannonball adderley:portrait of cannonball riverside 12-269
c adderley:jump for joy emarcy 20530
g russell:new york n y decca 9216
art farmer:modern art united artists 4007
chet baker:chet riverside 12-299
1959 bill potts:the jazz soul of porgy and bess united artists 4043
lee konitz-j giuffre:l konitz meets j giuffre verve 8335
manny albam/teo macero:something new something blue columbia 1388
warne marsh:the art opf improvising vol 1-2 revelation 22-27
john lewis:odds against tomorrow united artists 4061
chet baker:plays the best of lerner & loewe riverside 12-307
tony scott.golden moments muse 5230+I’ll remember muse 5266
lee konitz:you and lee verve 8362
1960 donald byrd-pepper adams:the soul of jazz percussion warwick 5003
g russell:jazz in the space age decca 9219
jj johnson/k winding:the great jay and kai impulse 1
kai winding:the incredible k w trombones impulse 3
gunther schuller:jazz abstractions atlantic 1365
1961 c adderley:know what I mean riverside 433
oliver nelson.the blues and the abstract truth impulse 5
mark murphy:rah riverside 395
dave pike:pike’s peak epic 16025
herbie mann.nirvana atlantic 1426
t dameron: the magic touch riverside 419
benny golson:just jazz/pop+jazz=swing audiofidelity 1978
1963 gary mcfarland:orchestra verve 8518
not mentioned miles davis
dottorjazz — brilliant, thank you. Can’t believe I forgot the Guys and Dolls with Eddie Costa, one of my favorites. I knew most of these, but some are surprises.
dottorjazz: great, impressive. Note that W. Marsh’ – Revelation LP’s 22-27 contain only soli by Warne, the rest is cut out. The integral session was issued on a double CD on Verve with Bill Evans featured.
Definitely some surprises there! Mark Murphy? How about that. I actually stumbled on that Dick Garcia side a couple months ago. Looked at it merely out of curiosity only to find Bill Evans on the date. Nice surprise! It’s an affordable side – sold for just 10 bucks recently. (link). I think I got mine for $6 or $7.
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