October 18, 2019
October 18, 1959

image

Cannonball Adderley records live at the Jazz Workshop in San Francisco with Nat Adderley, Bobby Timmons, Sam Jones and Louis Hayes. Orrin Keepnews said this of the session:

It…was the birth of contemporary live recording. That was such a phenomenal success that not only did I do a lot of such recordings afterwards, but I think that virtually all jazz producers felt that it was a good thing to do.

Interestingly, Adderley arrived in San Francisco (his run at the Jazz Workshop had begun October 6) to find that the local musician’s union was segregated.  “It was a shock to come from New York to San Francisco and find segregated locals existed here,” he said in a wire service story reprinted in the Pittsburgh Courier. “It’s funny that musicians should be classified by the color of their skin. As soon as you find this out, you think that all is not well here.”

image
image
image

A very patronizing review from the New York Times:

image
image

A thoughtful editorial from Ralph Gleason (who also wrote the liner notes) in the Boston Globe about why jazz is so special live.

image
image
image

A review from Cosmopolitan (sadly, “Meghan Richards” is the pen name of a man named Richard Gehman - who still has great taste):

image
image

A review from Seventeen:

image

  1. flommischen reblogged this from the1959project
  2. scary-ivy reblogged this from ch-dld-bft-brit-omm
  3. ch-dld-bft-brit-omm reblogged this from the1959project
  4. djregular reblogged this from the1959project
  5. tthisyearsmodel reblogged this from the1959project
  6. the1959project posted this