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When I was 12 or 13 I thought John Lennon hung the moon.  It’s a predictable sort of phase – I was inspired by his short pseudo-militant activist phase in the early 70s, and too young to see it’s tragic irony.  I still love “Power to the People” and “Instant Karma!” but I they’ve lost a lot of their weight over the years.

I’m sure I pushed a lot of boundaries around this time, and I’m pretty certain I quoted the chorus of Billy Joel’s “My Life” to one parent or another.  They both gave me a hard time for my impassioned enthusiasm for John Lennon’s short-lived activism, which I now understand.  There’s a rich man naïvity to the early 70s John Lennon records that makes even his most sincere sentiments – “Give Peace a Chance” etc. – seem disingenuous.

What I’ve never forgotten is that my mother told me she wished I would like Paul’s records more.  I don’t think she ever said, “He was a nice boy,” but that would really be perfect, wouldn’t it?

My mother thought Paul McCartney would be a better role model, in spite of the time he got caught with a giant sack of weed in Japan (seriously, who travels with nearly a pound of dope?).  Paul’s image – the “quiet Beatle” – remained intact, even as his third solo project, McCartney II, was the dopiest stoner album ever recorded.

Unless you’ve been living on the moon the last twenty years you’re already familiar with the most famous post-Wings McCartney record, “Wonderful Christmastime”.  If you’re a Hymie’s Records blog reader you also know how much we hate that song.

That song wasn’t on McCartney II, but a bunch of goofy songs were.  It even came with a one-sided 7″ single that had a super-awesome live version of “Coming Up”.  It’s the stoner album of your stone-y dreams.

And the best part is that the single had a B-side that was even goofier.

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(“Check my Machine”)

This was the B-side to “Waterfalls” – McCartney samples the Loonie Tunes and sings “check my machine” at least a hundred times over a goofy vamp.  The funniest thing about this song, if you ask me, is that there’s an extended version on a CD reissue of McCartney II.  Somebody out there, somewhere in this world, thought “Check my Machine” should be longer!

No time to write this morning – I get to be the parent helper at my son’s pre-school!  Here’s a story for today…

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Fred Katz was the first prominent cellist to perform jazz. People often use the phrase “classically trained” but in Katz’s case it’s more than apt: He took lessons from Pablo Casals.

It was in jazz that he made his name, however, and in particular in the west coast scene from which performers like Chet Baker and Stan Getz emerged. Katz joined the first Chico Hamilton Quintet, which also included Buddy Collette and Jim Hall – they were a later-era west coast jazz group, but very influential. One of several innovative things about the group was Katz’s cello, an instrument previously unheard in jazz.

Katz also recorded an album Sidney Poitier, who was the first African American to win an academy award for best actor, and whose career has more highlights than I can list. It’s an obvious choice but my favorite Sidney Poitier movie is In the Heat of the Night.

The scene where he slaps the old guy right back is the shit. I’m so glad that somebody put that on youtube and called it “slap scene”.

My friend Chris told me he’s worried he’ll die without having seen all the greatest movies, and so he’s been watching them. I can’t really empathize with his anxiety, because I feel like the older I get the more I get bored during movies (I would, however, encourage everyone to hear Running, Jumping, Standing Still before they die). I suppose In the Heat of the Night is probably a movie on his list. Aside from the scene where Poitier slaps the guy, and the one where he says, “They call me Mister Tibbs!” the best part of this movie is the score by Quincy Jones.

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(“In the Heat of the Night”)

Ray Charles sang the theme and also played piano on a second track. Glen Campbell sang another track – “Bowlegged Polly” – that’s pretty sweet. It’s one of the very best Quincy Jones soundtrack, but Ray Charles and Glen Campbell weren’t the reason I bought this record years ago.

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(“Whipping Boy”)

From the liner notes:

“Quincy then added the unique and startling Roland Kirk, the blind flautist from Chicago who talks through his amplified flute with a language all his own. ‘I need his anger, man,’ Quincy said. ‘And his loneliness.’”

I bought the copy of Quincy Jones’ soundtrack to In the Heat of the Night you’re hearing (here at Hymie’s, by the way) when I discovered Roland Kirk and had to hear every record on which he played. This happens when you discover Roland Kirk, and I recommend you do the same.  It’s way better than watching a bunch of old movies.

Years later, two decades after Roland Kirk passed away, his flute would again delight movie-goers – His delightful performance on the Quincy Jones track “Soul Bossa Nova” was the opening dance number to Austin Powers: International Man of Mystery.

You can find it on the 1961 Quincy Jones album Big Band Bossa Nova, which captures one of the best big bands of it’s era – featuring Paul Gonsalves, Clark Terry, Phil Woods, Lalo Schifrin, Jim Hall and more. The Quincy Jones big band of the early 60s is an amazing meeting point for jazz performers who would create their own fantastic music for decades to come (We made the case it was the last great big band a year or two ago in this post).

By this time you’re probably wondering when we’ll get to the album that Fred Katz and Sidney Poitier recorded together (remember them?). Here’s a track:

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(“The Philosopher King Must Rule”)

Poitier Meets Plato is a 1964 album in which the actor reads selections by counter-culture philosophy scholar and  author Henry L. Blake (The People’s Plato).  Fred Katz wrote the jazz arrangements.

It’s an exciting collaboration, highlighted by Poitier’s impassioned performance (the man had the voice of a god, at least certainly more so than this guy).

No collection of Plato’s works is complete without the allegory of the cave, just as no entry level course in Philosophy would be complete with out it. You can find this famous dialogue (between Socrates and Plato’s brother, Gloucon) in The Republic, or you can just watch this super trippy claymation interpretation. Here is Poitier and Katz’s interpretation:

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(“Our World is a Cave”  Sorry about the skips – it’s not like you see copies of this album all the time)

You may recognize Plato’s famous analogy because it is the basis for the the movie The Matrix (which Chris has probably already seen).  It is also a narrative that explores the philosopher’s eventual role in society, one of intellectual and moral leadership.  Blake, the author who prepared the text for Poitier’s reading, approached Plato as a seminal counter-cultural icon.  Manly P. Hall, writing in his introduction to The People’s Plato, points out that “troubled generations, burdened with uncertainties about providence, have always turned to the Dialogues of Plato for comfort and inspiration.”  And so we have the influence of Platonic philosophy on generations from Thomas Jefferson’s to Sidney Poitier’s to my own.

Man I wish my name were Manly P. Hall.  How is that even real?!

Could there be a way to tie this all together? There must be some sort of universal link between all these records, and the movies we’ve seen in clips, and the challenges Plato presents before us in his allegory…

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(excerpt from Pablo Casals: A Living Portrait)

Today’s post is a rerun, selected in tribute to our new neighbors, The Nostalgia Zone, who have recently relocated to East Lake Street after years next to the Comic Book College on Hennepin Avenue.  It’s a real delight to have a genuine, dedicated comic book store here in the neighborhood again.

You can find them just across the street from Merlin’s Rest at 3006 36th Avenue South.  You can also find them online here.  Gus is pretty excited about the Silver Surfer comic they let him have!

TOP TEN comic book inspired record jackets

Waiting for you in our the arrivals bins are a couple of blues reissues on the Pearl label (A subsidiary of Delmark) which feature artwork by George Hansen.  The music is jumpin’ and great, and the records just look cool.  This and the inclusion of Newbury Comics (A great shop where I bought my favorite Roland Kirk album more than a decade ago) in Rolling Stone‘s 25 best record stores in the US list inspired me to think about the occasional relationship forged between comic books and albums.  All of the sudden we had a new TOP TEN LIST!

TOP TEN COMIC BOOK-INSPIRED RECORD JACKETS!

#10 Hellbound Train by Savoy Brown

or then again

Shakedown Street by the Grateful Dead


Amazing but true:  Just as I was set to finish this post, forever ranking Savoy Brown’s Hellbound Train as the tenth best comic book-inspired record jacket, a friend called.  While I was talking to her, I thought I should find some upbeat music to listen to with the kids after they wake up (Fact: Many of these posts are written during naptime).  Off the shelf came Shakedown Street and the list was changed.  I’ve never thought Hellbound Train was a genuine British blues standard, but a lot of people do.  David Ansell’s comic art inside the gatefold is creepy and actually captures the spirit of a hellbound train a lot better than the over-long and bland title track.

Shakedown Street is just great stuff.  The R. Crumb-styled cover art is by Gilbert Shelton.  He is the creator of the Fabulous Furry Freak Brothers, a comic which is as good as it sounds.

#9 Tales from the Who

Original copies of this bootleg produced by The Mark of Quality have become pretty scarce, but it still turns up often enough – I saw a copy at The Record Show at the Lyndale Avenue VFW in August.  If you’re a Who fan* who really wants to hear it the CD is pretty easy to find – That’s where I got the picture above.  The album contains a Quadrophenia-era live broadcast (From The King Buscuit Flower Hour) but also features rockin’ renditions of classics like “My Generation” and “Won’t Get Fooled Again”.

*I think Who fans should be called “Who-villians”.  Laura says “Who-pers”.

#8 “Weird Al” Yankovic

An epic, if sprawling work of art, “Weird Al” Yankovic’s debut is certainly the best album of 1983 and possibly the best of the 80s.  Few records delved so deeply into the issues that divide us (“Mr. Frump in the Iron Lung”, “The Check’s in the Mail”, etc) or carry such remarkable insight into the anxieties which are overwhelming our lives as in “Another One Rides the Bus”.  “Stop Dragging My Car Around” is one of popular music’s most heartfelt pleas for help, and the intimacy and sincerity of “I Love Rocky Road” cannot be overstated.  Its famous cover was produced by Brazilian artist Rogerio, and contrary to common misconception not by Mad Magazine‘s legendary Jack Davis.

#7 Everybody Love a Nut by Johnny Cash and Songs Mother Never Sang by Homer and Jethro


These are two of the many records to which Jack Davis lent his pen.  Songs My Mother Never Sang is not the only Homer and Jethro jacket he drew, but probably the funniest and the most evocative of his work for Mad.  Others include an otherwise unappealing and forgotten album by Sailcat and a great design for Spike Jones’ suitably zany Thank You, Music Lovers.  I read once that although his work was seldom sloppy, Davis worked incredibly fast.  Maybe that’s why he was able to create so many different LP jackets.

#6  Rocket to Russia and Road to Ruin by The Ramones

The Ramones have produced more than their share of amusing record covers, including two consecutive albums with cartoons on the jacket.  Rocket to Russia featured the band in front of CBGB’s on the cover and a cartoon of a pinhead riding – What else? – a rocket to Russia on the back.

[Irresistibly fun fact: The lead off track "Cretin Hop" is not about a cretin.  Its about Cretin Avenue in St. Paul!]

Their next album featured a cartoon of the band by John Holmstrom that is largely indistinguishable from photographs.  Holmstrom is also the artist who created Bosko and Jo, characters you may remember if you read Bananas Magazine.

#5  Chastisment by the Last Poets

Ten years ago when I first brought this record home (From St Paul’s Cheapo in its good ole east-side of Snelling days) my friend Ben sat on my couch and stared at this jacket for no less than twenty minutes.  He was pretty stoned, but there really is a lot going on here. Jim Dyson’s cover art depicts an army of jackals worshiping a sacred cow and the Last Poets as avenging angels.  I can’t say I entirely understand the image, and I’ve never bothered to learn what the arabic text says (I’m pretty sure that if Glenn Beck saw this he’d tell us to be enraged), but its better than the blatantly racist artwork on some records, like Miles Davis’ Live/Evil.

#4 Hickey


Sometimes referred to as “In the Beginning”, this obscure masterpiece is the only full-length album recorded by San Francisco punk group Hickey and it successfully manages to capture than manic brilliance of their various self-released singles.  Probe Records issued Hickey in 1995 and it came with a black and white booklet which included comics depicting the events of the side-long “In the Beginning”.

Hickey’s various 7″ EPs all contained expressive, often hilarious comics and elaborate text.  Several of them offered an hour’s worth of reading material and six minutes of music.  Hickey was issued on CD as well, but I have never seen one so I don’t know if it contains the same comics inside.

It would take a post as long as today’s top ten list to provide a fair introduction to the music of Hickey, one of my favorite groups.  Perhaps someday in the future.  Meanwhile, this link will take you to a memorial site for Matty Luv, who sang their songs and created the artwork shown here.  The memorial site features more of his bizarre, expressive drawings.

A few honorable mentions before we get into the final three: New Birth’s Behold the Mighty Army is undeniably modeled after the covers of Marvel classics like Conan and Man-Thing, but its not a comic.  Another similar example is one of Charlie Parker’s 10″ records on Dial, which combines a comic of a bird and of Bird’s hat with a photograph.  Also not included are records with painted likenesses, even cartoonish painted likenesses, of the artist.

Tiny Tim’s cheerful tune “Comic Strip Man” was issued as a promotional single with a picture sleeve (left) depicting the singer as a superhero.   Here’s the song itself:

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Another comic book-inspired record not included is the Blue Magoo’s Electric Comic Book.  I have never seen a copy that has the “comic” intact, and with the exception of their rendition of the Looney Tunes theme I’ve never cared much for the album itself.

#3  Too Old to Rock and Roll, Too Young to Die! by Jethro Tull

Too Old to Rock and Roll, Too Young to Die! tells the story of Ray Lomas, “last of the old rockers”.  Lomas tries to adapt to hte 70s but finds the only sympathy he gets (In “From a Dead Beat to an Old Greaser”) is from other outdated losers.  After being burned by his “bird”, the old greaser takes off on his motorcycle complaining, “Women–All they want are washing machines, pills and nylon bedspreads”.

Naturally, he crashes (“going 120″) and is laid up in the hospital – By the time Lomas recovers he finds that fashions have changed to again favor his greaser stylings.  At the end, we’re promised “Next week–Ray becomes a pop star!”

A recent CD reissue of this Tull classic added two outtakes, which one can imagine fitting well into the story.  One, “Strip Cartoon” (Which was previously issued on the fantastic 20 Years of Jethro Tull boxed set) seems particularly apt for today’s post:

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Of course, we could have a lot of fun looking at the top ten songs about comic books, but if we start on that we’ll never get to the end of this list…!

#2 Who Will Save the World? by the (Mighty) Groundhogs

Like Jethro Tull’s Thick as a Brick, Who Will Save the World? folds out into a newspaper, in this case the comics section.  Whether its simplistic anti-pollution story by DC Comics legend Neal Adams is really relevant to the record is questionable, but there’s no doubt its cool.  Adams’ work on Superman and Batman during the 70s was seminal, and his political activism on behalf of comic artists (Particularly Superman creators Jerry Siegel and Joel Schuster) earned him near unparalleled respect in the field.

…And

#1 Cheap Thrills by Big Brother and the Holding Company

Undeniably the most iconographic and beloved cartoon record cover rock and roll has ever produced, Cheap Thrills is also a classic album.

The artwork for Cheap Thrills was created by underground comics legend R. Crumb.  In addition to creating a variety of beloved characters like Fritz the Cat and the Keep on Truckin’ guys, Crumb is one of the world’s most enthusiastic collectors of 78s.  In fact, he has issued a few CDs of tracks from his famous collection.

Columbia Records refused the band’s original plan for a naked front cover and Crumb was commissioned to create artwork for the back of a jacket that would feature a portrait of Janis.  She was a fan of underground comics and insisted the artwork be shifted to the front, which explains the back of Cheap Thrills which contains nothing but a black and white portrait of Joplin smiling (and clothed).

The Nostalgia Zone is a genuine comic book store.  Nobody there acts like Comic Book Guy from The Simpsons.  They do love what the do, and they’d love to help you enjoy reading comics.  One again, their website is here.  They’re just south of the corner of 36th and East Lake, and we’re ecstatic to have them here in the neighborhood!

Our popular “Smackdown” series has been long overdue for a revival, but candidates for a worthy battle are few and far between. In fact, the reason there hasn’t been a good smackdown in a while is that this past one was hard to put together after I found these two albums next to each other when I was moving records after one of our 50¢ sales (It’s amazing what people will pass up, even for a buck).  It’s a fun idea but entirely lopsided, given my well-documented admiration for one of the two.  Still, I took the records from the 50¢ bin home, listened to them and thus began the legendary smackdown to be known as…

THE BATTLE OF THE 9′S

Herb Alpert vs. Beethoven

Let’s get to know our contestants:

About Beethoven’s 9th -  Composed in 1825.  The composer was fifty-five years old.  He passed away only two years later, making the 9th Symphony the penultimate piece in his storied career.

Length:  An hour. Ugh.

Instrumentation:  Thirty some people. Plus a whole choir. Ugh

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(Allegro me non troppo, un poco maestoso)

About Herb Alpert’s 9th – Composed in 1967.  Age of composer thirty-two.  In fact, by the age of fifty-seven Herb Alpert had recorded thirty-two albums.   At seventy-seven years old, Alpert has outlived the so-called “great maestro” by twenty years.

Length:  A lean twenty-eight minutes.

Instrumentation:  The Tijuana Brass.  How awesome are these guys?  Just the year before they had five albums in the Billboard Pop Chart’s top twenty.  A quarter of the top twenty was Tijuana Brass.  Nobody, not even Beethoven, has accomplished that before or since!  Dude’s so old they didn’t even have a top twenty.

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(“My Heart Belongs to Daddy”)

(Point for this first round goes to Herb Alpert.)

Whose music was more memorable?:

Beethoven’s 9th symphony is widely considered not only the composer’s greatest work but one of the greatest achievements in all of western art.  The “Ode to Joy” passage from the fourth movement is one of the most instantly recognizable and universal melodies in all the world, and has adopted as an anthem by various nations over the years since the composer’s death.

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(Finale – Allegro ma non froppo – allegro assai)

Herb Alpert’s Ninth was the last Tijuana Brass LP to be issued in mono and stereo.  It featured a bust of Beethoven wearing a Herb Alpert t-shirt on the cover.

(The point for this round goes to Ludwig van Beethoven.)

Which album has more unwanted copies sitting around the record store?

Today’s recordings of Beethoven’s 9th Symphony come from the 1958 Charles Munch/Boston Symphony recording.  We have a couple copies around the shop.  We have more than a dozen various other recordings of Beethoven’s 9th, including Bruno Walter’s subdued recording from the following year (one of my favorites).

There are about ten copies of Herb Alpert’s 9th kicking around the shop, excluding the inevitable few in the junk record shelves in the bathroom and the 50¢ bin in the entryway.

(The point for this round goes to Ludwig van Beethoven)

Lasting influence:

Beethoven’s 9th symphony has been recorded hundreds of times, dating back to the introduction of recorded sound (the first was conducted by Bruno Seidler-Winkler, and issued by Grammaphone in 1923).  Neither of the two original songs introduced on Herb Alpert’s 9th - “A Banda” and “Bud” – were recorded again.

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(Adagio molto a cantible, excerpt)

“Bud” was a tribute to Ervan “Bud” Coleman, who had written “Tijuana Taxi” for the group and also played guitar and mandolin on some of their records.  Herb Alpert’s tribute is touching, but a more moving recording was made by the Baja Marimba Band (“For Bud” on Do You Know the Way to San Jose?).

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(“Bud”)

(The point for this round goes to Ludwig van Beethoven)

It’s clear this is going to turn into a rout.  I was on a baseball team as a kid that had to invoke the “10 run” rule pretty often (ten runs meant the inning must end, regardless of the number of players who were out).  We’ll let Herb Alpert enjoy the same mercy, and next time we put him into a fairer fight. Maybe with, oh I dunno, Hugh Masekela…

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“Life’s a drag but not mine,” sings Jack Klatt at the outset of his lively new disc, Mississippi Roll, a fifteen track ramble up and down the great American river.   Along for the ride are four genuine Minnesota music legends – Cornbread Harris, Dakota Dave Hull, Spider John Koerner and Charlie Parr – but what’s really remarkable about Mississippi Roll is just how much Klatt’s group, the Cat Swingers, shines in prestigious company.  Whether they’re rockin’ the foot-stompin’ folk blues familiar to our blue Minnesota waters or the gritty gumbo of cajun and gypsy jazz from down the Big Muddy, Klatt and his Cat Swingers are the stars of this spontaneous, inter-generational experiment.

Jack Klatt, the 26 year old St Paul native you’ve never met but already know, is larger than life.  Unlike some more ostentatious contemporaries, Klatt’s affable modesty is the key to his charm.  You might drop your rear on the barstool next to him without knowing you’re sharing a rail with a genuine repository of American song, as comfortable reviving his growing repertoire of traditionals as casually conjuring new standards like “Life’s a Drag (but not mine)” and “Do You Think About Tomorrow?”

Klatt’s been likened to a Steinbeck character, and you could see where he might have a song for every struggle, like David Carradine in Bound For Glory but what he’s accomplished with the collaborations in Mississippi Roll suggests there’s a little more of Herman Melville’s mysterious Confidence Man in him than Tom Joad.  He own enthusiasm is inspirational, bringing out the best in those who play with him.  It’s only right he should be the star of his own show.

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“Do You Think About Tomorrow?” is a gem – a song he played it here at Hymie’s not long ago.  The song is equal parts Irving Berlin and Randy Newman and a case in point:  Mississippi Roll‘s guests happily lent thumbs, fingers, feet and voice to fine, spontaneous performances, and fans of West Bank music will not be disappointed, but it’s just that the originals by Klatt and the Cat Swingers are the disc’s highlights.  Tune into collaborator/co-producer Dakota Dave Hull’s KFAI program (Thursday mornings 10-12) and you’ll see why he’d back the Cat Swingers so enthusiastically.

The band swings on “Life’s a Drag” and the jaunty jumper “Must Have Been the Devil”, and Patrick Harrison shreds the washboard on the their raucous take on “Cocaine Blues”.  Klatt and Sabyre Rae Daniels, who also plays ukulele, trade verses through “Goin’ Back Home” like Lonnie Johnson and Clara Smith did on one of the finest swingin’ 78s you’re going to find (Okeh 8839) – yes, the first thing that comes to mind is a blues record from 1930.

Garsh there’s a healthy scene backing traditional music in town right now!  Some (not us) were surprised to see debut disc by Klatt’s pals and oftentimes showmates the Cactus Blossoms tagged by the City Pages as the best album of the past twelve months.  Stop by one of their Monday night shows at the Turf Club if you’re suspicious – while you’re out and about check out other traditional/country performers like Jake Manders (Thursday night at Cause Spirits and Soundbar), Caitlin Robertson (who’ll be playing up north later this month but will be back around town May 28th for a show at the Amsterdam in St. Paul), or Pocahontas County, a young bluegrass quartet that’s a favorite of ours.   They play a regular set at the 331 Club on the 1st and 3rd Mondays (an early set starting at 6:30) and host the Amsterdam Bar’s Theme Time on the second Thursday.

But what you’ll really want to do is run to your refrigerator and move the bills off the calendar.  Circle Saturday May 26th when you find it:  That’s when Jack Klatt and the Cat Swingers will release Mississippi Roll with the  big show it deserves.  They’ll be performing at the Cedar Cultural Center, joined by Dakota Dave Hull and Cornbread Harris.  The Cactus Blossoms will play an opening set.

It seems like its been ages since we posted pictures of 45 labels just for the joy in the labels themselves – hope today’s pair makes up for it.

The first featured from a garage-y pop record I really enjoyed – The In Crowd Consolidated, or ICC, whose single is on Hy Nibble Records.  This record came and went through the shop recently.

The second is on Hodag Records, named for the mythical creature that is found in the woods around Rhinelander, Wisconsin.  A genuine hodag is pictured on the label.  This one we got from our friend Noah, who took a picture of the single before giving it away.  Are there really hodags around here?  Shit, yes.  Just ask those giraffes in St. Paul.

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(“Mercy, Mercy, Mercy”)

Back in the dark ages of my life (my 20s) when I spent nearly every day at Al’s Breakfast scrubbing the dishes that served the best breakfast in town, there was a regular named Leonard who I liked to talk to between bouts of actually working.  If memory serves, he was the namesake of “the Leonard” on the menu.

Around the same time I went through a phase where the only thing I wanted to listen to was records by Cannonball Adderley and his brother Nat.  Leonard encouraged this by telling me a story of his own dark ages – he had seen the Cannonball Adderley Quintet open up for the Who at San Francisco’s Filmore West during the years in which the legendary promoter Bill Graham experimented with pairing jazz and rock acts on the same bill.

After the Quintet played and the crew was setting up the Who’s various giganormous amplifiers and such, Roger Daltry walked out on stage to applause.  He gathered up a few of the cigarette butts that Cannonball and Nat – heavy smokers, both – had left on stage.  He told the audience he wanted to bring them back to England to prove to people that Cannonball Adderley opened up for him, and not the other way around.

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(“Work Song”)

There’s a string of albums on Capitol from the late 60s and early 70s by the Cannonball Adderley Quintet that were recorded live, each featuring “my brother Nat” (Adderley, trumpet and cornet) along with pianist Joe Zawinul.  The rhythm sections is nearly always Walter Booker (bass) and Roy McCurdy (drums).  Until the Adderleys begin producing the records themselves, all are produced by David Axelrod.  The records are an amazing confluence of artistry and ambition.  Like most of the great Capitol jazz records they’re out of print (on vinyl, anyway) and underplayed on jazz radio (here in town, anyway) and under-played (our record shop, anyway).

The Quintet’s studio albums are consistently fun but there’s something unique about the live recordings.  For years I’d buy any record I saw with “The Scene” – the Cannonball Adderley Quintet’s theme, written by Joe Zawinul and Nat Adderley.

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(“Walk Tall”)

“Mercy, Mercy, Mercy” was a hit for the group at a time when jazz was producing very few hits for the major labels – Joe Zawinul wrote the song, which was re-recorded with lyrics from time to time. Here’s a classic one:

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(“Mercy, Mercy, Mercy”  by Larry Williams and James Watson)

I think that “Walk Tall”, from the 1969 album Country Preacher, is an even more memorable melody.  It was co-written by Zawinul, who would be a co-founder of the spacier, more ambient Weather Report just a few short years later.  Zawinul’s contributions to the Cannonball Adderley Quintet include bluesy songs with unconventional structures, like “Mercy, Mercy, Mercy”, straight pop tunes like “Walk Tall” and modern pieces along the lines of what his future Weather Report bandmate, Wayne Shorter, was recording with Miles Davis.

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(“Rumpelstiltskin”)

The Zawinul song “Rumpelstiltskin” on The Cannonball Adderley Quintet In Person captures his range as a composer and arranger, and also his intuitive ability to bring out the best in the other members of the Quintet.  One reason why the Quintet seems to have thrived even as each pursued side projects is that each contributed material to the group.  On Country Preacher the second side is dominated by “Afro-Spanish Omelet”, a four part suite featuring original compositions by 4/5 of the group, for instance.

Cannonball also appeared on an episode of Kung Fu along with Jose Feliciano and David Carradine. Lord, how did I miss this when I was collecting goofy jazz performances on television?!

Julian “Cannonball” Adderley died in 1975 after a stroke, and Nat Adderley passed away in 2000.  Joe Zawinul lived until 2007, and recorded his first symphony near the end of his life.  Walter Booker passed away the year before.  The only surviving member of the Cannonball Adderley Quintet is drummer Roy McCurdy, who is an Adjunt Professor in the Jazz Studies Department of the Thornton School of Music at the University of Southern California in Los Angeles.

One of the last Cannonball Adderley Quintet albums was The Price You Got to Pay to be Free, recorded in 1970 and named for a song written and sung by Nat’s son, Nat Adderley, Jr.  On the same album Cannonball wails on his horn before crooning “Bridges”, about the silliest, sappiest thing a jazz legend ever recorded.

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(“Alto Sex / Bridges”)

Jazz, of course, was getting its ass kicked by rock and R n’ B around the same time.  Fusion’s all right in my book (especially when Zawinul’s involved) but it’s not the most memorable music of the era.  The Cannonball Adderley Quintet walked a fine line between pop, R n’ B, and fusion but never abandoned their roots.  In fact, they recorded some of the best jazz of the times.

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(“The Scene”)

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