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Cannonball's Bossa Nova | 
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| Artist: Julian "cannonball" Adderley With The Bossa Rio Sextet Of Brazil
Label: Blue Note Records
Category: Music
List Price: $11.98
Buy New: $10.99
You Save: $0.99 (8%)
New (38) Used (9) from $6.94
Rating:  13 reviews
Sales Rank: 44960
Format: Original Recording Reissued, Original Recording Remastered
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 22667
UPC: 724352266722
EAN: 0724352266722
ASIN: B000046Q2G
Release Date: January 25, 2000
Shipping: Eligible for Super Saver Shipping
Availability: Usually ships in 24 hours
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| Tracks:
| • | Clouds | | • | Minha Saudades | | • | Corcovado | | • | Batida Diferentes | | • | Joyce's Sambas | | • | Groovy Sambas | | • | O Amor Em Paz (Once I Loved) | | • | Samops | | • | Corcovado (Alternate Take) | | • | Clouds (Single Version) |
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| Editorial Reviews:
Amazon.com
Florida-born alto saxophonist Julian Cannonball Adderley distinguished himself as a member of Miles Davis's groups (he's the sultry alto on Kind of Blue) and with the hard-bop ensembles he co-led with his cornet-playing brother Nat. This recording, produced by Orrin Keepnews in 1963 for the Riverside label, features Adderley performing bossa nova-based compositions. Anchored by Brazilian composer and pianist Sergio Mendes's band (with alto saxophonist Paulo Moura), Adderley's singing sax lines float over the sunny Rio rhythms, owing more to Benny Carter than Charlie Parker. The renditions of Antonio Carlos Jobim's standards "Corcovado" and "Once I Loved" and Joao Donato's "Minha Saudades" are comparable to Stan Getz's Legendary records from the same period, showing anew that jazz and South American music have learned much from each other. --Eugene Holley Jr.
Album Description
This 1962 project marked the American recording debut of Brazilian masters Sergio Mendes and Dom Um Romao in a program of great jazz-inflected sambas by Antonio Carlos Jobim, Joao Donato and others. Includes two alternate takes.
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| Customer Reviews: Read 8 more reviews...
Necessary addition to any Jazz collection May 1, 2007
Marcelo Maciel has summed up all the details below, and this album really fits in very well with any general music collection. I actually like this Brazilian album more than any other of Cannonball Adderley's I've heard, and thankfully it ages like good wine and just gets better with time. Be sure not to get the 2006 Limited Edition for $23.99 though, the extra 14 dollars only ensures that you don't get the 2 bonus tracks (the alternate take of Corcovado and the single version of clouds). I can't see many copies of that one being sold.
Bossa Nova lovers... or for that matter... anyone interested in Jazz... Get This Album!!!!! March 3, 2006
1 out of 2 found this review helpful
This is quintessential Bossa Nova... and the best thing is that I'm learning so much just reading the other reviews here.... I love Bossa Nova... it's my favorite Latin music and my favorite Jazz music....
A nice surprise May 2, 2003
10 out of 11 found this review helpful
I've always been a fan of Cannonball's standard jazz work (esp. with Miles Davis), so I was delighted to hear about this CD. I'm also a fan of Sergio Mendes who plays piano on this CD. The first cut is very carefree and makes me feel as if I'm walking along the sandy beaches of Brazil. A wonderful intro to Sergio Mendes. It's a good buy.
 Cannonball's Bossa Nova -corrected December 28, 2001
17 out of 19 found this review helpful
The Jazz-Samba genre, very expressive in the 60's, was inauurated, in Brazil, by Meirelles and the Copa 5 group, in the famous record with Luiz Carlos Vinhas and Pedro Paulo (piano and trumpet). In United States, the genre came in 1962 with Stan Getz and Charlie Byrd with the excellent "Jazz Samba", in which some brazilian music's pearls are explored with the sophistication of the guitar-tenor saxophone combination. The Getz's soft tone sound and the Byrd's complex and melodic improvisations contributed to this. It is irrefutable that the peak of this brazilian music fashion in USA came in 1963, with "Getz/Gilberto", in which the samba's broken rithmys, that was a non-solved problem in Jazz Samba, are well managed by Milton Banana.
Following this line, "Cannonball's Bossa Nova" record brings a experienced drummer, Dom Um Romao, who also is present in the Sinatra/ Tom Jobim record. This secure rhytmic support is noticed too in the Durval Ferreira's accompaniment, simple and, so, beatiful. With Sergio Mendes, about his short solos, we have a paralell in the minimalistic improvisation of Jobim. This cool touch it's well perceived in Jobim's solos in the music "O Grande Amor" (Getz/Gilberto) and in the record "The Composer of Desafinado Plays" (1963), in which, almost always, only the right hand is used. Cannonball, a high quality saxophonist, complete the group. His perfect technique allows the full exploration of his musical ideas. His extrem softness and potent sonority (remembers Getz sometimes) and his bebop/bluesy musical speech, Charlie Parker's heritage, are perfect not to a bossa nova record, but for a jazz/bossa approach.
The entire record gets a fine taste, but "Amor em Paz (Once I Loved)", lovely Jobim's melody, shows the great artist who is Cannonball Adderley. Not in his "soul music" incursions, but in his great and pungent lyrical sense that he gives to the ballads ("Stars Fell in Alabama", in the "C.A Quintet in Chicago", 1959, is my preferred). It is almost irresistible to compare Corcovado (Quiet Nights) in this record with Getz/Gilberto record, but both are great, each one with his qualities. For the jazz lovers and for the brazilian music lovers this record is, farther indispensable, a great joy, a great example of good music, a... so, listen it!!! ASAP!!!
Cannonball's Bossa December 28, 2001
4 out of 5 found this review helpful
The Jazz-Samba genre, very expressive in the 60's, was inauurated, in Brazil, by Meirelles and the Copa 5 group, in the famous record with Luiz Carlos Vinhas and Pedro Paulo (piano and trumpet). In United States, the genre came in 1962 with Stan Getz and Charlie Byrd with the excellent "Jazz Samba", in wich some brazilian music's pearls are explored with the sophistication of the guitar-tenor saxophone combination. The Getz's soft tone sound and the Byrd's complex and melodic improvisations contributed to this. It is irrefutable that the peak of this brazilian music fashion in USA came in 1963, with "Getz/Gilberto", in wich the samba's broken rithmys, that was a non-solved problem in Jazz Samba, are well managed by Milton Banana.
Following this line, "Cannonball's Bossa Nova" record brings a experienced drummer, Dom Um Romao, who also is present in the Sinatra/ Tom Jobim record. This secure rhytmic support is noticed too in the Durval Ferreira's accompaniment, simple and, so, beatiful. With Sergio Mendes, about his short solos, we have a paralell in the minimalistic improvisation of Jobim. This cool touch it's well perceived in Jobim's solos in the music "O Grande Amor" (Getz/Gilberto) and in the record "The Composer of Desafinado Plays" (1963), in which, almost always, only the right hand is used. Cannonball, a high quality saxophonist, complete the group. His perfect technique allows the full exploration of his musical ideas. His extrem softness and potent sonority (remembers Getz sometimes) and his bebop/bluesy musical speech, Charlie Parker's heritage, are perfect not to a bossa nova record, but for a jazz/bossa approach.
The entire record gets a fine taste, but "Amor em Paz (Once I Loved)", lovely Jobim's melody, shows the great artist who is Cannonball Adderley. Not in his "soul music" incursions, but in his great and pungent lyrical sense that he gives to the ballads ("Stars Fell in Alabama", in the "C.A Quintet in Chicago", 1959, is my preferred). It is almost irresistible to compare Corcovado (Quiet Nights) in this record with Getz/Gilberto record, but both are great, each one with his qualities. For the jazz lovers and for the brazilian music lovers this record is, farther indispensable, a great joy, a great example of good music, a... so, listen to it!!! ASAP!!!
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