Cannnonball Adderley

~ Release by Cannonball Adderley (see all versions of this release, 1 available)

Tracklist

1▼Digital Media
#TitleRatingLength
1This Here
phonographic copyright (℗) by:
Xelon Productions (in 2010)
recording of:
This Here
composer:
Stefano Di Battista and Bobby Timmons
9:21
2Rose Room
recorded in:
New York, New York, United States (on 1955-08-05)
alto saxophone:
Julian “Cannonball” Adderley (on 1955-08-05)
baritone saxophone:
Cecil Payne (on 1955-08-05)
cornet:
Nat Adderley (on 1955-08-05)
double bass:
Paul Chambers (US jazz bassist) (on 1955-08-05)
drums (drum set):
Max Roach (20th century US jazz drummer & composer) (on 1955-08-05)
flute and tenor saxophone:
Jerome Richardson (on 1955-08-05)
piano:
John Williams (American jazz pianist) (on 1955-08-05)
trombone:
J. Johnson (jazz/bop trombonist/session leader) (on 1955-08-05)
arranger:
Quincy Jones
phonographic copyright (℗) by:
UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (in 1955), HHO Licensing (in 2005, in 2008) and Xelon Productions (in 2010)
instrumental cover recording of:
Rose Room (on 1955-08-05)
lyricist:
Harry Williams (American songwriter, co-writer of “In the Shade of the Old Apple Tree”) (in 1917)
composer:
Art Hickman (in 1917)
publisher:
EMI Music Publishing (do not use as a release label!), Miller Music (publisher), Paul Rodriguez Music Ltd, Universal Music Publishing Group and Warner/Chappell Music, Inc.
5:46
3Minority (take 2)
producer:
Orrin Keepnews
alto saxophone:
Cannonball Adderley (on 1958-07-01)
double bass:
Sam Jones (US jazz bassist) (on 1958-07-01)
drums (drum set):
Philly Joe Jones (US jazz drummer) (on 1958-07-01)
piano:
Bill Evans (pianist) (on 1958-07-01)
trumpet:
Blue Mitchell (American trumpet player) (on 1958-07-01)
phonographic copyright (℗) by:
Milestone Records (holding company for jazz label Milestone; do NOT use as label) (in 1973), Fantasy, Inc. (not for release label use!) (in 1989), HHO Licensing (in 2005) and Xelon Productions (in 2010)
recorded at:
Reeves Sound Studios in New York, New York, United States (on 1958-07-01)
recording of:
Minority (on 1958-07-01)
composer:
Gigi Gryce
publisher:
Jacogg Publications and Twenty-Eighth Street Music
7:35
4Straight Life
producer:
Orrin Keepnews
alto saxophone:
Julian “Cannonball” Adderley (on 1958-07-01)
double bass:
Sam Jones (US jazz bassist) (on 1958-07-01)
drums (drum set):
Philly Joe Jones (US jazz drummer) (on 1958-07-01)
piano:
Bill Evans (pianist) (on 1958-07-01)
trumpet:
Blue Mitchell (American trumpet player) (on 1958-07-01)
phonographic copyright (℗) by:
Milestone Records (holding company for jazz label Milestone; do NOT use as label) (in 1973), Fantasy, Inc. (not for release label use!) (in 1989), HHO Licensing (in 2005, in 2008) and Xelon Productions (in 2010)
recorded at:
Reeves Sound Studios in New York, New York, United States (on 1958-07-01)
recording of:
Straight Life (on 1958-07-01)
composer:
Art Pepper
5:26
5Fallen Feathers
phonographic copyright (℗) by:
HHO Licensing (in 2005, in 2008) and Xelon Productions (in 2010)
recording of:
Fallen Feathers
composer:
Quincy Jones
3:46
6Toy
recording engineer:
Bill Stoddard (engineer: sound (recording) and electronics) (on 1961-02-21)
producer:
Orrin Keepnews (in 1961-02)
alto saxophone:
Cannonball Adderley (on 1961-02-21)
double bass and double bass [bass]:
Percy Heath (on 1961-02-21)
drums (drum set):
Connie Kay (on 1961-02-21)
piano:
Bill Evans (pianist) (on 1961-02-21)
phonographic copyright (℗) by:
HHO Licensing (in 2005, in 2008), Fantasy, Inc. (not for release label use!) (in 2006), Dobre Records (in 2009), Xelon Productions (in 2010), Concord Music Group, Inc. (part of Concord Bicycle Music since 2015/04/01, not for release label use!) (in 2011), Entertain Me Ltd. (in 2012), Vantage Music (in 2012) and Count Records (in 2013)
recorded at:
Bell Sound Studios in New York, New York, United States (on 1961-02-21)
recording of:
Toy (on 1961-02-21)
composer:
Clifford Jordan
publisher:
Upam Music Co.
5:08
7You’d Be So Nice to Come Home To
recorded in:
New York, New York, United States (on 1955-07-29)
alto saxophone:
Julian “Cannonball” Adderley (on 1955-07-29)
baritone saxophone:
Cecil Payne (on 1955-07-29)
cornet:
Nat Adderley (on 1955-07-29)
double bass:
Paul Chambers (US jazz bassist) (on 1955-07-29)
drums (drum set):
Kenny Clarke (on 1955-07-29)
flute and tenor saxophone:
Jerome Richardson (on 1955-07-29)
piano:
John Williams (American jazz pianist) (on 1955-07-29)
trombone:
J. Johnson (jazz/bop trombonist/session leader) (on 1955-07-29)
arranger:
Quincy Jones
phonographic copyright (℗) by:
UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (in 1955), HHO Licensing (in 2005, in 2008) and Xelon Productions (in 2010)
instrumental cover recording of:
You’d Be So Nice to Come Home To (on 1955-07-29)
lyricist and composer:
Cole Porter (composer) (in 1943)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Warner Chappell Music Ltd. (no slash; used 1988–1996) and Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
part of:
The 16th Academy Award for Best Original Song (number: 2)
recording of:
You’d Be So Nice to Come Home To
lyricist and composer:
Cole Porter (composer) (in 1943)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Warner Chappell Music Ltd. (no slash; used 1988–1996) and Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
part of:
The 16th Academy Award for Best Original Song (number: 2)
3:37
8Scavenger
phonographic copyright (℗) by:
HHO Licensing (in 2005, in 2008) and Xelon Productions (in 2010)
11:11

Credits