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Autumn Leaves
Jazz · 2013

Autumn Leaves

Cannonball Adderley

Soulful 1963 live recordings from Tokyo. Cannonball's bluesy alto meets Yusef Lateef's modal textures in a masterclass of high-energy hard bop.

July 18, 2013 · ArsNova

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This album captures the Cannonball Adderley Sextet at the absolute height of their powers during their 1963 tour of Japan. It sounds like a bridge between the earthy, gospel-drenched hard bop of the late fifties and the more expansive, modal explorations of the mid-sixties. The recording quality is remarkably warm for a live date, preserving the physical weight of Sam Jones's bass and the crisp, driving snap of Louis Hayes's drumming. It feels like being in a front-row seat at Kosei-nenkin Kaikan, witnessing a group of musicians who are so locked in that they can shift from a whisper to a roar in a single measure.

Moments Worth Listening For
The moment Yusef Lateef switches to oboe, cutting through the hard bop swing with an eerie, modal intensity.
Joe Zawinul's rhythmic piano comping behind the cornet solo, hinting at the soul-jazz revolution to come.
The explosive applause from the Tokyo audience after a particularly fleet-fingered alto saxophone run on the title track.
Where This Album DepartsEach spoke is a trait. The orange shape shows where this album pulls away from — or holds to — the rest of the artist’s catalogue. Tap for more.

How does Autumn Leaves sound next to the rest of Cannonball Adderley's catalogue?

Live Recording+1.3σ

The production is pushed notably harder into live recording than this artist usually allows.

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