SPILL ALBUM REVIEW: THE CANNONBALL ADDERLEY QUINTET – LIVE IN MONTREAL MAY 1975

THE CANNONBALL ADDERLEY QUINTET
LIVE IN MONTREAL MAY 1975
DOBRE RECORDS

On May 3rd, 1975, The Cannonball Adderley Quintet gave perhaps one of their most lush and entertaining performances to date. Now, 49 years later, we have the privilege of listening to Cannonball Adderley’s Live In Montreal from the comfort of our own homes, a true testament to how technology has allowed art to advance into the new generation.

There is truly nothing more special than a live recording with a responsive audience, and Live In Montreal has just that. As the album continues on, the audience audibly becomes more immersed, and because of this, so does your at home listener. The live performance is strong on many fronts, from the music itself, Julian “Cannonball” Adderley’s crowdwork, and the quality of the recording.

At the time, Cannonball Adderley would have no way of knowing just how influential his “Hard Bop” Jazz tunes would become, and how “Hard Bop” allowed for Jazz to have a spot in dancing communities, after a decade of “Bebop’s” “un-danceable” reign. Though the album can be seen as rough around the edges in some segments, I believe that it adds to the authentic experience of a live recording.

Personally, the standout recording on this album is “Mercy, Mercy, Mercy”, which truly showcases Cannonball’s musical prowess, with an amazing harmonising riff-off between Cannonball’s alto saxophone and his brother, Nat Adderley’s, trumpet. The song’s final crescendo between the two transports the listener to almost a film-noir spy thriller, or perhaps a 007 sequence. As well as this, two tracks on this album act as introduction to the following songs, allowing for Cannonball’s ad-libbing to create an immersive experience that shows his true showmanship, enforcing an effortlessly entertaining listen. “Cannonball Intro To Woban”, is the perfect balance of humor and political conversation, which reinforces my aforementioned interactive audience, as they both attentively listen to his speech and laugh at his quick whips. “Woban” is a testament to its time, rooted in political commentary, with mournful laments and a deep and dark piano crescendo that send chills down the listener’s spine.

The album ultimately is a beautiful ode to Julian “Cannonball” Adderley’s musical power and his sway of his audience. It is a pleasure to listen to and is a fine example of how much Cannonball was able to achieve just months before his untimely passing.

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