Know What I Mean? by Cannonball AdderleyReview by: Rick AndersonNotes, Second Series, Vol. 58, No. 4 (Jun., 2002), p. 903Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/900575 .

Accessed: 10/06/2014 04:55

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.

http://www.jstor.org

This content downloaded from 195.78.108.96 on Tue, 10 Jun 2014 04:55:45 AMAll use subject to JSTOR Terms and Conditions

Sound Recording Reviews Sound Recording Reviews Sound Recording Reviews Sound Recording Reviews

Counterpoise, a set of four orchestral songs (performed nicely by Dawn Upshaw) from 1994. Of the three works, Counterpoise is perhaps the most conceptually impressive; its title reflects the dialectical opposition of the two poets (Emily Dickinson and Guillaume Apollinaire) whose works are taken as texts for the four songs. But there is a similar oppositional dynamic involved in the Viola Concerto, which offers the most exciting moments in the program. All of the performances are excellent, as is the recording quality.

Chuck Hedges. Just for Fun. Arbors Jazz ARCD 19239, 2001.

The forty-year career of clarinetist Chuck Hedges has been marked by tremendous artistic achievement but, perhaps inevitably, far less in the way of public acclaim- having made relatively few recordings, he has remained on the periphery of most jazz aficionados' consciousness. But he deserves better, as this thoroughly charming album of jazz standards attests. His sweet, buttery tone and gently insistent swing are brought to bear on a perhaps rather predictable program of tunes that includes such chestnuts as "Night and Day," "One Note Samba," and 'You Stepped Out of a Dream," as well as a few more obscure numbers and one original, the album's title track, which is a delightful bravura clarinet workout taken at bebop tempo. Wisely, those in charge of the session placed Hedges in front of a simple piano trio (featuring the excellent pianist Eddie Higgins); the spare accompaniment and lack of competing soloists have the twin benefits of allowing Hedges to stretch out impressively and of not obscuring his glorious tone. This is one of the lovelier and more satisfying jazz al- bums of the past year.

Cannonball Adderley. Know What I Mean? Riverside/Original Jazz Classics RCD-9433-2, 1961; reissued 1987, 2001.

Originally recorded and released in 1961, then reissued in 1987 as part of Fantasy's Original Jazz Classics series, this recording was something of a summit meeting among three of the most significant jazz entities of the time: Adderley himself, already a

Counterpoise, a set of four orchestral songs (performed nicely by Dawn Upshaw) from 1994. Of the three works, Counterpoise is perhaps the most conceptually impressive; its title reflects the dialectical opposition of the two poets (Emily Dickinson and Guillaume Apollinaire) whose works are taken as texts for the four songs. But there is a similar oppositional dynamic involved in the Viola Concerto, which offers the most exciting moments in the program. All of the performances are excellent, as is the recording quality.

Chuck Hedges. Just for Fun. Arbors Jazz ARCD 19239, 2001.

The forty-year career of clarinetist Chuck Hedges has been marked by tremendous artistic achievement but, perhaps inevitably, far less in the way of public acclaim- having made relatively few recordings, he has remained on the periphery of most jazz aficionados' consciousness. But he deserves better, as this thoroughly charming album of jazz standards attests. His sweet, buttery tone and gently insistent swing are brought to bear on a perhaps rather predictable program of tunes that includes such chestnuts as "Night and Day," "One Note Samba," and 'You Stepped Out of a Dream," as well as a few more obscure numbers and one original, the album's title track, which is a delightful bravura clarinet workout taken at bebop tempo. Wisely, those in charge of the session placed Hedges in front of a simple piano trio (featuring the excellent pianist Eddie Higgins); the spare accompaniment and lack of competing soloists have the twin benefits of allowing Hedges to stretch out impressively and of not obscuring his glorious tone. This is one of the lovelier and more satisfying jazz al- bums of the past year.

Cannonball Adderley. Know What I Mean? Riverside/Original Jazz Classics RCD-9433-2, 1961; reissued 1987, 2001.

Originally recorded and released in 1961, then reissued in 1987 as part of Fantasy's Original Jazz Classics series, this recording was something of a summit meeting among three of the most significant jazz entities of the time: Adderley himself, already a

Counterpoise, a set of four orchestral songs (performed nicely by Dawn Upshaw) from 1994. Of the three works, Counterpoise is perhaps the most conceptually impressive; its title reflects the dialectical opposition of the two poets (Emily Dickinson and Guillaume Apollinaire) whose works are taken as texts for the four songs. But there is a similar oppositional dynamic involved in the Viola Concerto, which offers the most exciting moments in the program. All of the performances are excellent, as is the recording quality.

Chuck Hedges. Just for Fun. Arbors Jazz ARCD 19239, 2001.

The forty-year career of clarinetist Chuck Hedges has been marked by tremendous artistic achievement but, perhaps inevitably, far less in the way of public acclaim- having made relatively few recordings, he has remained on the periphery of most jazz aficionados' consciousness. But he deserves better, as this thoroughly charming album of jazz standards attests. His sweet, buttery tone and gently insistent swing are brought to bear on a perhaps rather predictable program of tunes that includes such chestnuts as "Night and Day," "One Note Samba," and 'You Stepped Out of a Dream," as well as a few more obscure numbers and one original, the album's title track, which is a delightful bravura clarinet workout taken at bebop tempo. Wisely, those in charge of the session placed Hedges in front of a simple piano trio (featuring the excellent pianist Eddie Higgins); the spare accompaniment and lack of competing soloists have the twin benefits of allowing Hedges to stretch out impressively and of not obscuring his glorious tone. This is one of the lovelier and more satisfying jazz al- bums of the past year.

Cannonball Adderley. Know What I Mean? Riverside/Original Jazz Classics RCD-9433-2, 1961; reissued 1987, 2001.

Originally recorded and released in 1961, then reissued in 1987 as part of Fantasy's Original Jazz Classics series, this recording was something of a summit meeting among three of the most significant jazz entities of the time: Adderley himself, already a

Counterpoise, a set of four orchestral songs (performed nicely by Dawn Upshaw) from 1994. Of the three works, Counterpoise is perhaps the most conceptually impressive; its title reflects the dialectical opposition of the two poets (Emily Dickinson and Guillaume Apollinaire) whose works are taken as texts for the four songs. But there is a similar oppositional dynamic involved in the Viola Concerto, which offers the most exciting moments in the program. All of the performances are excellent, as is the recording quality.

Chuck Hedges. Just for Fun. Arbors Jazz ARCD 19239, 2001.

The forty-year career of clarinetist Chuck Hedges has been marked by tremendous artistic achievement but, perhaps inevitably, far less in the way of public acclaim- having made relatively few recordings, he has remained on the periphery of most jazz aficionados' consciousness. But he deserves better, as this thoroughly charming album of jazz standards attests. His sweet, buttery tone and gently insistent swing are brought to bear on a perhaps rather predictable program of tunes that includes such chestnuts as "Night and Day," "One Note Samba," and 'You Stepped Out of a Dream," as well as a few more obscure numbers and one original, the album's title track, which is a delightful bravura clarinet workout taken at bebop tempo. Wisely, those in charge of the session placed Hedges in front of a simple piano trio (featuring the excellent pianist Eddie Higgins); the spare accompaniment and lack of competing soloists have the twin benefits of allowing Hedges to stretch out impressively and of not obscuring his glorious tone. This is one of the lovelier and more satisfying jazz al- bums of the past year.

Cannonball Adderley. Know What I Mean? Riverside/Original Jazz Classics RCD-9433-2, 1961; reissued 1987, 2001.

Originally recorded and released in 1961, then reissued in 1987 as part of Fantasy's Original Jazz Classics series, this recording was something of a summit meeting among three of the most significant jazz entities of the time: Adderley himself, already a

hugely influential alto saxophonist in the hard bop style; pianist Bill Evans, whose lyrical, impressionistic playing was chang- ing the way people thought about jazz piano; and the bass and drums duo of Percy Heath and Connie Kay, whose work with the Modern Jazz Quartet was bringing jazz to wider audiences with its dignified, classically-influenced approach. The combi- nation may not be an obviously felicitous one, but it works wonderfully, thanks pri- marily to Adderley's ability to take the helm and make the session his own. His joyful, rollicking delivery pushes everyone else; in particular, Adderley makes Evans swing harder than he typically did on his own, making the contrast between this rendition of, for example, "Waltz for Debby" and the more celebrated one from Evans's Village Vanguard sessions both academically inter- esting and fun. Heath and Kay stir the pot jovially from below, though like Evans they generally follow Adderley's lead. The result is a wonderfully sweet-tempered set filled with delightful solo moments and tasteful ensemble playing. (The 2001 reissue has been digitally remastered and the track order shifted slightly, though it offers no new or previously unreleased tracks. The remastered version offers a slight increase in high-end resolution, but is otherwise not noticeably superior to the 1987 reissue.)

Frode Gjerstad/Derek Bailey/John Stevens. Hello, Goodbye. Emanem 4065, 2001.

These performances were recorded live in concert in October 1992, but remained unreleased until saxophonist Frode Gjerstad stumbled across them and li- censed them to the Emanem label, which issued them as an album in late 2001. The music is all freely improvised, and as such will not appeal to all listeners; noted rock critic Robert Christgau coined the term "skronk" to describe music such as this. Those with ears to hear, however, will find much to enjoy on this album. It was recorded direct to digital audio tape, result- ing in exceptional fidelity, which is espe- cially important with these three musicians. Derek Bailey's guitar playing is filled with soft, delicate gestures that could have easily been buried in a less sympathetic mix, and

hugely influential alto saxophonist in the hard bop style; pianist Bill Evans, whose lyrical, impressionistic playing was chang- ing the way people thought about jazz piano; and the bass and drums duo of Percy Heath and Connie Kay, whose work with the Modern Jazz Quartet was bringing jazz to wider audiences with its dignified, classically-influenced approach. The combi- nation may not be an obviously felicitous one, but it works wonderfully, thanks pri- marily to Adderley's ability to take the helm and make the session his own. His joyful, rollicking delivery pushes everyone else; in particular, Adderley makes Evans swing harder than he typically did on his own, making the contrast between this rendition of, for example, "Waltz for Debby" and the more celebrated one from Evans's Village Vanguard sessions both academically inter- esting and fun. Heath and Kay stir the pot jovially from below, though like Evans they generally follow Adderley's lead. The result is a wonderfully sweet-tempered set filled with delightful solo moments and tasteful ensemble playing. (The 2001 reissue has been digitally remastered and the track order shifted slightly, though it offers no new or previously unreleased tracks. The remastered version offers a slight increase in high-end resolution, but is otherwise not noticeably superior to the 1987 reissue.)

Frode Gjerstad/Derek Bailey/John Stevens. Hello, Goodbye. Emanem 4065, 2001.

These performances were recorded live in concert in October 1992, but remained unreleased until saxophonist Frode Gjerstad stumbled across them and li- censed them to the Emanem label, which issued them as an album in late 2001. The music is all freely improvised, and as such will not appeal to all listeners; noted rock critic Robert Christgau coined the term "skronk" to describe music such as this. Those with ears to hear, however, will find much to enjoy on this album. It was recorded direct to digital audio tape, result- ing in exceptional fidelity, which is espe- cially important with these three musicians. Derek Bailey's guitar playing is filled with soft, delicate gestures that could have easily been buried in a less sympathetic mix, and

hugely influential alto saxophonist in the hard bop style; pianist Bill Evans, whose lyrical, impressionistic playing was chang- ing the way people thought about jazz piano; and the bass and drums duo of Percy Heath and Connie Kay, whose work with the Modern Jazz Quartet was bringing jazz to wider audiences with its dignified, classically-influenced approach. The combi- nation may not be an obviously felicitous one, but it works wonderfully, thanks pri- marily to Adderley's ability to take the helm and make the session his own. His joyful, rollicking delivery pushes everyone else; in particular, Adderley makes Evans swing harder than he typically did on his own, making the contrast between this rendition of, for example, "Waltz for Debby" and the more celebrated one from Evans's Village Vanguard sessions both academically inter- esting and fun. Heath and Kay stir the pot jovially from below, though like Evans they generally follow Adderley's lead. The result is a wonderfully sweet-tempered set filled with delightful solo moments and tasteful ensemble playing. (The 2001 reissue has been digitally remastered and the track order shifted slightly, though it offers no new or previously unreleased tracks. The remastered version offers a slight increase in high-end resolution, but is otherwise not noticeably superior to the 1987 reissue.)

Frode Gjerstad/Derek Bailey/John Stevens. Hello, Goodbye. Emanem 4065, 2001.

These performances were recorded live in concert in October 1992, but remained unreleased until saxophonist Frode Gjerstad stumbled across them and li- censed them to the Emanem label, which issued them as an album in late 2001. The music is all freely improvised, and as such will not appeal to all listeners; noted rock critic Robert Christgau coined the term "skronk" to describe music such as this. Those with ears to hear, however, will find much to enjoy on this album. It was recorded direct to digital audio tape, result- ing in exceptional fidelity, which is espe- cially important with these three musicians. Derek Bailey's guitar playing is filled with soft, delicate gestures that could have easily been buried in a less sympathetic mix, and

hugely influential alto saxophonist in the hard bop style; pianist Bill Evans, whose lyrical, impressionistic playing was chang- ing the way people thought about jazz piano; and the bass and drums duo of Percy Heath and Connie Kay, whose work with the Modern Jazz Quartet was bringing jazz to wider audiences with its dignified, classically-influenced approach. The combi- nation may not be an obviously felicitous one, but it works wonderfully, thanks pri- marily to Adderley's ability to take the helm and make the session his own. His joyful, rollicking delivery pushes everyone else; in particular, Adderley makes Evans swing harder than he typically did on his own, making the contrast between this rendition of, for example, "Waltz for Debby" and the more celebrated one from Evans's Village Vanguard sessions both academically inter- esting and fun. Heath and Kay stir the pot jovially from below, though like Evans they generally follow Adderley's lead. The result is a wonderfully sweet-tempered set filled with delightful solo moments and tasteful ensemble playing. (The 2001 reissue has been digitally remastered and the track order shifted slightly, though it offers no new or previously unreleased tracks. The remastered version offers a slight increase in high-end resolution, but is otherwise not noticeably superior to the 1987 reissue.)

Frode Gjerstad/Derek Bailey/John Stevens. Hello, Goodbye. Emanem 4065, 2001.

These performances were recorded live in concert in October 1992, but remained unreleased until saxophonist Frode Gjerstad stumbled across them and li- censed them to the Emanem label, which issued them as an album in late 2001. The music is all freely improvised, and as such will not appeal to all listeners; noted rock critic Robert Christgau coined the term "skronk" to describe music such as this. Those with ears to hear, however, will find much to enjoy on this album. It was recorded direct to digital audio tape, result- ing in exceptional fidelity, which is espe- cially important with these three musicians. Derek Bailey's guitar playing is filled with soft, delicate gestures that could have easily been buried in a less sympathetic mix, and

903 903 903 903

This content downloaded from 195.78.108.96 on Tue, 10 Jun 2014 04:55:45 AMAll use subject to JSTOR Terms and Conditions