Julian “Cannonball” Adderley’s musical output and history is such a vast subject, I find it somewhat intimidating to write about. The Tampa native and his trumpet playing brother Nat were playing with Ray Charles in the early 40’s. After his musical studies and years of band leading positions, he was noticed by Miles Davis for his blues rooted approach to the sax. His works with Miles included albums such as Milestones and the modal jazz classic Kind Of Blue. Miles’ musical journeys, from avant garde to electric jazz fusion, continued to inspired Adderley’s own music until his passing in 1975.
One idea that Cannonball and his brother Nat did at different times in the early 70’s were a pair of albums with their own groups with the subject matter being a lighthearted look at astrology. That was the side of Cannonball and Nat Adderley’s artistry that I’m most familiar with. Another album of Cannonball that was played around the household a lot was a 1973 album called Inside Straight. It was a live in the studio session recorded at the Fantasy studios in Berkeley, California. The song that got my attention right from the get go on the album is the opening title song.
Roy McCurdy’s in the pocket drumming gets the groove going at 88 bpm, with Hal Galper’s Fender Rhodes and Walter Booker’s bass clomping along rhythmically right along with it. Cannonball plays an equally rhythmic 12 bar blues melody in his classic style over this-giving the song a strongly themed chorus. He improvises on this theme for much of the second minute of the song. On the second chorus of the song, someone (likely Cannonball) is making a squawking, almost flatulent like vocal horn effect. The choral theme of the intro fades out the song.
“Inside Straight” is just the kind of hard bop/soul jazz/funk process type of groove that shows how vital Cannonball’s music was in the early 70’s. Especially in terms of the evolution of jazz into the funk era. The groove itself is very straight forward and clear-its relatively slow tempo allowing Cannonball’s funky improvisations to really take flight. It really embodies how distinct Cannonball’s approach to sax was to allow it to evolve. That common ground between he and Miles Davis’s approach to music is really what makes this such a standout Cannonball Adderley number for me.
Blood, Sweat & Tears were the first major jazz-rock group to hit the scene. This NYC group was formed in 1967 by Al Kooper. The main members included Mothers Of Invention album Jim Fielder along with Steve Katz and Bobby Colomby. It was also the first self contained rock group to have an integrated horn section. The group would record through the 70’s-losing and gaining new personnel as they went along. Including their original lead singer Al Kooper. Their most famous lead singer is David Clayton- Thomas. He joined the band for their sophomore album in 1968.
Thomas’s raspy,soulful vocals and songwriting immediately hit pay dirt for the band with the hit song “Spinning Wheel”. He continued writing for the band until pursuing a solo career after the 1971 album Blood, Sweat & Tears 4. He returned to the band just under five years later. They continued to record studio albums, with the ever changing lineup, until their final album to date came out in 1980’s Nuclear Blues. This was their first and only album on the MCA/LAX record label. One of the highlights I’ve heard so far is the David Clayton-Thomas penned title song of the album.
A rumbling, blasting bass synth tone with a cinematic wind like sound from behind it provides the intro to the song. The horn charts blast in along with the rhythm guitar, popping bass and an equally popping keyboard part in the back round. The B-section of the main theme has the Clavinet takes over behind Thomas’s vocal. On the bridge, this same B-section is played up as an instrumental part. First with an organ solo, than a sax solo playing behind an eerily bouncing, heavily reverbed bass line. During the extended chorus fading out the song, Thomas breaks into a mini rap over that same bass line.
“Nuclear Blues” finds Blood, Sweat & Tears, by this time on their 11th studio album, having marinated on from their elaborate jazz/rock arrangements into a well oiled jazz funk ensemble. Especially with the then newest members such as the bass/guitar duo David and Robert Piltch. Along with keyboardist Richard Martinez and the slow, in the pocket drumming of Bobby Economou. David Clayton-Thomas wrote a straight up 12 bar blues for this musical backing-one with a timely lyric dealing with the tail end of the cold war. This makes “Nuclear Blues” a perhaps unsung swansong of Blood, Sweat & Tears.