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22 Apr 2017

Cannonball Adderley,Rick Holmes,The Nat Adderley Sextet “Soul Zodiac”1972 US Jazz Funk,Soul Jazz,Deep Jazz.















Cannonball Adderley, Rick Holmes, The Nat Adderley Sextet “ Soul Zodiac” 1972 US Jazz Funk,Soul Jazz,Deep Jazz.

https://www.youtube.com/watch?v=FLQvcly7dUs
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Awesome cult classic deep jazz album from Nat Adderley featuring narrations from radio DJ Rick Holmes on the theme of astrology!
Mystical out-there 1972 deep jazz wig outs, as sampled by artists such as Tribe Called Quest!
This is some deep stuff! If you like the Soul of the Bible album then this is very similar! ...Recommended!...........

"Soul Zodiac" is an album by jazz cornetist Nat Adderley released on the Capitol label featuring performances by Adderley's Sextet with Ernie Watts, Mike Deasy, George Duke, Walter Booker, and Roy McCurdy with narration by Rick Holmes and Cannonball Adderley guesting on two tracks. Because of the prominent production credit on the cover the album is often mistakenly credited to Cannonball Adderley. Also, Soul Zodiac is not to be confused with Cannonball Adderley's Love, Sex, and the Zodiac. .......~Wikipedia~ .......

A few seconds of spacy echo loops and you know where this album is coming from -- the early jazz/rock era, the Age of Aquarius and all that. Yet this crazy amalgam of jazz, rock, electronics, and spoken astrological advice by the popular Los Angeles DJ Rick Holmes actually works, for the music behind the soulfully intoned words is very inventive and Holmes plays effectively off its rhythms. Basically this is the Cannonball Adderley group (Nat, cornet; George Duke, electric piano; Walter Booker, bass; Roy McCurdy, drums), with the young eloquent Ernie Watts sitting in for Cannonball (who appears only on "Libra" and "Aries") on tenor and flute, and Mike Deasy contributing wild psychedelic guitar at times. Indeed Nat seems like just the nominal leader of the session -- Cannonball actually gets top billing as co-producer -- though he plays spiritedly at all times. The music is very eclectic, ranging from mainstream jazz to free-form freak-outs and even hilarious heavy metal rock on the stomping 14-minute "Taurus." Actually these were expansions of the directions the Adderley group was exploring at the time, and one wonders how they determined the idiom for each sign. Whether or not you accept astrology, this double set is a lot of fun.......by Richard S. Ginell..allmusic.......

One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen. Adderley already had an established career as a high school band director in Florida when, during a 1955 visit to New York, he was persuaded to sit in with Oscar Pettiford's group at the Cafe Bohemia. His playing created such a sensation that he was soon signed to Savoy and persuaded to play jazz full-time in New York. With his younger brother, cornetist Nat, Cannonball formed a quintet that struggled until its breakup in 1957. Adderley then joined Miles Davis, forming part of his super sextet with John Coltrane and participating on such classic recordings as Milestones and Kind of Blue. Adderley's second attempt to form a quintet with his brother was much more successful for, in 1959, with pianist Bobby Timmons, he had a hit recording of "This Here." From then on, Cannonball always was able to work steadily with his band. During its Riverside years (1959-1963), the Adderley Quintet primarily played soulful renditions of hard bop and Cannonball really excelled in the straight-ahead settings. During 1962-1963, Yusef Lateef made the group a sextet and pianist Joe Zawinul was an important new member. The collapse of Riverside resulted in Adderley signing with Capitol and his recordings became gradually more commercial. Charles Lloyd was in Lateef's place for a year (with less success) and then with his departure the group went back to being a quintet. Zawinul's 1966 composition "Mercy, Mercy, Mercy" was a huge hit for the group, Adderley started doubling on soprano, and the quintet's later recordings emphasized long melody statements, funky rhythms, and electronics. However, during his last year, Cannonball Adderley was revisiting the past a bit and on Phenix he recorded new versions of many of his earlier numbers. But before he could evolve his music any further, Cannonball Adderley died suddenly from a stroke. ~ Scott Yanow..............

One of the coolest, baddest, funkiest albums Cannonball Adderley ever recorded – a massive suite of tunes based on the signs of the Zodiac, produced to perfection by David Axelrod, and featuring some hip recitations from the mighty Rick Holmes! The double-length set is completely compelling all the way through – a darkly brooding batch of funky jazz that shows a strong Miles Davis electric influence at points, thanks to Nat Adderley's spacey trumpet lines, Mike Deasy's trippy guitar, and George Duke's excellent keyboards! Other tracks are a bit more laidback, fitting the mood of their respective signs – and overall, the whole thing slips and slides wonderfully from cut to cut – taking you through the star signs with a really righteous, soulful approach. Titles include "Cancer", "Sagittarius", "Pisces", "Aquarius", "Capricorn", "Virgo", "Taurus", "Aries", "Libra", and a special "Introduction". (dustygroove.com)............ 

The Nat Adderley Sextet's Soul Zodiac could easily have been buried in a time capsule as an example to future generations of the ideas that were in the air in late 60s/ early 70s popular culture. A concept album based on the signs of the Zodiac, a hip narration, psychedelic guitars and some fatback drums. Paradoxically it was this level of vogueishness, that for many years consigned it to the parts of the jazz catalogue that time had forgotten. However in the early 90s the acid jazz scene discovered its funk filled grooves and hip hop producers used those very grooves as the building blocks of their own records, turning the album into a sought after collector's item. The Adderley brothers were born in Florida, Julian, more famously known as 'Cannonball' in 1928 and Nat in 1931. Cannon became a renowned alto saxophonist, and one of the leading bandleaders of his day. Signing in 1955 to Mercury Records, but making himself a national name when he joined the Miles Davis Sextet in 1957 being present on the recording of Davis' most enduring album Kind Of Blue. After leaving Davis he signed to the New York independent jazz label Riverside where he began to score a series of jazz hits that would make his group one of the most successful jazz bands of the time. A key component of that group was his brother Nat who had played at various times with his brother in the 50s, as well as with J J Johnson and Lionel Hampton. After rejoining Cannon he would stay in his bands until his brother's death in 1975. As well as his cornet playing being the front-line instrumental foil to Cannon he was also responsible for some of the most important tunes in the group's song-book including 'Work Song', 'Jive Samba' and 'Tengo Tango'. The Cannonball Adderley Quintet's success, and problems at Riverside saw them signed in 1964 to Capitol Records and working alongside staff A&R man and producer David Axelrod. Axelrod and Cannon got on well, and they settled into an extended period of work that would see the group reach a new level of success. That success reached its peak - commercially at least - with 1967's LP Live At The Club. This album contained the Joe Zawinul composition 'Mercy Mercy Mercy', which when edited down and released as a single became one of the biggest jazz hits of the decade. This success fed itself through to a level of freedom for the participants, that allowed them to experiment with the sorts of records that they could make. Axelrod made a pair of albums based on the works of William Blake Songs Of Innocence and Songs Of Experience, whilst Cannonball made an album focused on Africa, and released an album, Country Preacher that paid explicit tribute to Black rights leader Jesse Jackson. Nat Adderley was also given his opportunity. Since his breakthrough as a writer with his brother he had made several LPs as a leader, first of all at Riverside then Atlantic, Milestone and most recently under Creed Taylor's auspices at A&M. Although fairly numerous and of high quality these albums had always been really distractions from the day job of playing with his brother. Although the same could be said about the two "Cannonball Adderley presents The Nat Adderley Sextet" albums released by Capitol in the early 70s, there was a certain substance to them that suggested that they were definitely given more thought than usual. Those two albums were Soul Zodiac and Soul Of The Bible, produced by Cannonball Adderley and David Axelrod. In Wax Poetics magazine Axelrod was dismissive of Soul Of The Bible stating that it was so bad that it deserved not just to be rare but to be dead. He claimed that the problem was Rick Holmes' narrations which just didn't seem - to him - to work on the Bible stories. However of Soul Zodiac he had a much higher opinion "..astrology was fine, and Rick was really into astrology.(it) was a smash hit". Holmes may well have been the key to these records being made in the first place. He was one of the most influential jazz DJs in the country, the host of his own show on KBCA a very big jazz station..................

Credits:

Alto Saxophone – Cannonball Adderley (tracks: 2)
Art Direction – John Holmes
Cornet – Nat Adderley
Double Bass, Guitar – Walter Booker
Drums – Roy McCurdy
Electric Piano [Fender Rhodes] – George Duke
Engineer – Howard Gale
Guitar – Mike Deasy
Photography By – Rick Rankin
Photography By [Body Painting] – Abe Gurvin
Producer – Cannonball Adderley, David Axelrod
Soprano Saxophone – Cannonball Adderley (tracks: 3)
Tenor Saxophone, Flute, Tambourine – Ernie Watts
Voice [Narration], Written-By – Rick Holmes

Tracklist
A1 Introduction 3:00
A2 Aries 4:52
A3 Libra 3:15
A4 Capricorn 6:10
B1 Aquarius 7:47
B2 Pisces 3:53
B3 Sagittarius 5:15
C1 Gemini 4:35
C2 Leo 2:51
C3 Virgo 4:10
C4 Scorpio 4:23
D1 Cancer 2:45
D2 Taurus 13:52

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