Hard Bop

In the earlier days of my blog, I had an entire series on the Hard Bop period of Jazz. I haven’t written a lot about it recently.

I’m not sure why. Probably because I just haven’t listened to it as much recently. Without noticing, I saw my listening preferences subtly move towards even more classical music, with less emphasis on Jazz.

However, whenever I return to one of my hard bop classics, I can’t help but just truly enjoy the experience. It is a much more visceral enjoyment, compared to the sometimes more intellectual appreciation of some of my classical albums (not that classical music cannot be truly emotional).

Nicely enough, many of the old classics are now being remastered and re-released, which typically gets me to buy the same album again. As is the case in this one.

Lee Morgan: Delightfulee (Blue Note 1966)

Lee Morgan is mostly known for his legendary album The Sidewinder (see my review here), which I included in my 25 Essential Jazz albums list, but not only he’s been a fantastic sideman on a lot of great albums, including the other legendary classic, Moanin‘ (yes, Morgan is yet another Jazz Messengers alumnus).

This album was recorded in 1966, probably the last year before Jazz descended on what to me are the dark ages of free and fusion (I’ve discussed this extensively on this blog that I barely listen to any Jazz albums between 1966 and 1980 approximately, with some exceptions to confirm the rule).

The very first track is already something I truly love, Ca-Lee-So, in the latin inspired Calypso style. This song, in my humble opinion, beats even the most famous Jazz Calypso of all, Sonny Rollins St. Thomas from the album Saxophone Colossus that was recorded 10 years earlier, and I believe contributed to make this style popular.

Yesterday starts a bit on the cheesy side admittedly. Once you get through the intro, it really gets better, giving time to the individual soloist to dissect the harmony of this classic.

Sunrise, Sunset, is just very solid swing, one that if you’re not tapping your foot to it, you are really missing the point.

Another highlight to me is Nite Flite, with its beautiful modal approach. It is also the longest track on the album, which confirms my theory that the longest tracks are often among the best (they just give more time for the soloists to develop their ideas, in this case particularly to the brilliant Joe Henderson, but McCoyTyner also gets plenty of air time).

Overall, a very aptly named album.

My rating: 4 stars

You can find it here (Qobuz)

Cannonball Adderley

So far, I’ve written only about one album (see my review of “Know What I Mean here) by the great alto saxonphonist Julian “Cannonball” Adderley.

This is a bit of a sin as I really like him. I recognize that Parker and Coltrane were the more creative and influential artists, but in real life I listen to Adderley albums quite regularly, and more often than the first two giants. So watch this spot for more on him.

Mercy Mercy Mercy! Live At “The Club” (Capitol 1966)

So what triggered me writing about this particular album? Well, quite simply, I heard it on the radio. In this case it was Radio Swiss Jazz, a music only channel run by the Swiss public radio, which unlike it’s classical counterpart, actually often plays really good music.

Who else do we have at this live gig at Club de Lisa in Chicago? Let’s start with Nat Adderley on Cornet, his brother. They often played together and are very complementary.

Then on piano we have Joe Zawinul, the Austrian pianist & keyboarder, who had joined Adderley earlier, but became much more famous later playing with Miles Davis on Bitches Brew, and with Wayne Shorter on the fusion band Weather Report.

To finish the quintet’s line up, on drums we have Victor Gaskin, and on bass Roy McCurdy.

The Cannonball Adderley Quintet Mercy, Mercy, Mercy Live at "The Club" Capitol / Blue Note 1966

So what do we get on this album?

This is 1966, so just the end of the hardbop era before things started moving on towards Free Jazz and Fusion. None of that here, this is still 100% solid hard bop. What you get, is essentially Fun and Games, as the first two titles are called.

Honestly, I probably wouldn’t even mention this album which is nothing but solid, non-outstanding hard bop (with a lot of energy though), if it didn’t include the title track, Mercy Mercy Mercy, written by Joe Zawinul earlier this year, and which became a chart hit (yes, in the 1960s Jazz tracks still could be come chart hits), and has been covered a lot since.

What is so special about this track, no. 3? It’s 5:10 of pure drive, but laid back. Not sure how they pull of this contradiction in terms, but I guess it is Joe Zawinul on his Wurlitzer e-piano is the one who really kills here. The Adderley brothers get to play occasionally, but fundamentally this truly is a Zawinul song through and through.

Check it out: