Mercy, Mercy, Mercy! – Wikipedia

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Mercy, Mercy, Mercy! Live at ‘The Club’ is a jazz album by the Saxophonist Cannonball Adderley, recorded in 1966 for the Capitol label. The recording session takes place in a Hollywood studio in the presence of an audience and not in a club in Chicago as the subtitles suggests ( Live at ‘The Club’ ). Cannonball Adderley is accompanied by his brother Nat at the Cornet, Joe Zawinul on the piano, Victor Gaskin at the double bass and Roy McCurdy on drums. This disc is very successful at its release and the eponymous song with Soul Jazz style becomes a jazz standard.

In 1955, almost eleven years before the recording of this album, Cannonball Adderley led a group in a school in Florida and did not predestine a career as a musician. Passing to New York that year with his brother Nat, he went to the club Coffee Bohemia To listen to the double bass player Oscar Pettiford, when the opportunity is offered to play on stage with the group. His interpretation is very well received, which allows him to record a session led by drummer Kenny Clarke for the Savoy label a few days later. The company notices its talent and describes it as new Bird In reference to his style comparable to that of the Saxophonist Charlie Parker who died a few months earlier. Cannonball then trains his own quintet with his brother Nat [ first ] , [ 2 ] .

For two years the group tried in vain to win in a strongly oriented style Bebop but without real musical innovation. In , Cannonball joins the combo of trumpeter Miles Davis at Sutherland Lounge in Chicago. This collaboration alongside talented musicians such as saxophonist John Coltrane offers him great recognition in particular with the recording session of Kind of Blue in 1959. It also allowed him to diversify her game, develop a quieter style and better control improvisation [ 2 ] . As for his brother, he accompanies the trombonist Jay Jay Johnson and the musician Woody Herman. Some cannonball albums recorded during this period as a leader are very noticed, in particular Somethin’ Else On the Blue Note and Portrait of Cannonball label for Riverside in 1958 [ first ] .

Despite the comfortable salary proposed by Davis, Cannonball chooses to go in to reform in October his own quintet; He joined his brother in the Cornet, Sam Jones with a double bass, Bobby Timmons on the piano and Louis Hayes on drums [ 2 ] . The Pianist Timmons offers excellent compositions such as This Here In a soul jazz style, which is very successful and allow the group to emerge on the jazz scene. The Cannonball game is very expressive, he often communicates with his audience, explains his music, which also helps to increase the popularity of the group [ first ] . From 1962 to 1963, the group was a sextet, Joe Zawinul replaced Timmons and Yusef Lateef appeared in tenor [ n 1 ] . In the early 1960s, Cannonball regularly recorded for the label Riverside But the death in 1963 of one of its founders, Bill Grauer, led to the bankruptcy of the label shortly after. The saxophonist then signed a contract with Capitol for which he performs after a few albums, this recording session at the end of 1966.

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Capitol building where the recording takes place.

The pieces are saved the in the big Studio A From the Tour du Capitol Records Building located in Hollywood and Vine, in a famous district of the city of Los Angeles in California.

The album is subtitled Live at The Club And the original notes that accompany him on the cover, suggest that the recordings took place in a club in Chicago, named The Club , which is a jazz club led by a friend of Cannonball Adderley, the DJ E. Rodney Jones [ n 2 ] , [ 3 ] . Jones and Pervis Spann, a personality in the musical world, take possession of The Club So named Club Delisa , a former place of jazz and blues which they then renamed and which opened its doors in 1966. Adderley is one of the first artists to perform there in March during three evenings. To draw attention to his new establishment, Jones would have asked the saxophonist to write the liner notes And to mention on the cover of the album the name of the club as a recording location. Adderley talks about it to producer David Axelrod, who accepts [ 4 ] .

Mercy, Mercy, Mercy is a composition of Joe Zawinul characterized by a melody tinged with blues and a relatively slow tempo. The song begins with a Cannonball declaration, which often used during its concerts to communicate with its audience [ n 3 ] , [ 5 ] .

1966 edition in LP -Capitol Records format SM-2663
N° Title Composer Duration
Face 1
Introduction 0:07
first. Fun Nat Adderley 7:33
2. Games Nat Adderley 8:03
3. Mercy, Mercy, Mercy Josef Zawinul 5:07
Face 2
4. Sticks Cannonball Adderley 3:53
5. Hippodelphia Josef Zawinul 5:43
6. Sack O’ Woe Cannonball Adderley 10:45

The album is experiencing a quick success when it was released, in particular the title Mercy, Mercy, Mercy which sells for nearly 800,000 copies [ 8 ] .

On Allmusic, Steve Huey writes that “the jovial and full of life temperament formed a significant part of its popularity and no document seizes this quality both, or with as great musical rewards as Mercy, Mercy, Mercy » [ 9 ] .

In 2013, the song Mercy, Mercy, Mercy! appears in the film The wolf of Wall Street ( The Wolf of Wall Street stars of Martin Scorsese.

Notes [ modifier | Modifier and code ]

  1. ↑ Yusef lateef was replaced the following year in 1964 by Charles Lloyd.
  2. ↑ liner notes Origin of the album by E. Rodney Jones.
  3. ↑ Original quote: « You know, sometimes we’re not prepared for adversity. When it happens sometimes we’re caught short, we don’t know exactly how to handle it when it comes up. Sometimes we don’t know just what to do when adversity takes over and I have advice for all of us, I got it from my pianist Joe Zawinul, who wrote this tune and it sounds like what you’re supposed to say when you have that type of problem. It called Mercy, Mercy, Mercy. » .

References [ modifier | Modifier and code ]

  1. ↑ A B and C (in) Scott Yanow, Jazz : A Regional Exploration , Westport (Connecticut), Greenwood Publishing Group, , 287 p. (ISBN  978-0-313-32871-8 , read online ) , p. 179-180 .
  2. ↑ A B and C (in) Ted joy, The History of Jazz , New York, Oxford University Press, , 480 p. (ISBN  978-0-19-512653-2 ) , p. 232; 297; 299 .
  3. ↑ (in) ‘ Cannonball Adderley – Mercy, Mercy, Mercy!: Live At “The Club” (Capitol ST 2663) » , on jazzdisco.org (consulted the ) .
  4. ↑ (in) Michael Cuscuna, ‘ Money in the Pocket » , on cannonball-adderley.com (consulted the ) .
  5. ↑ (in) Mark Anthony Neal, What the Music Said : Black Popular Music and Black Public Culture , Routledge, , 336 p. (ISBN  978-0-415-92071-1 , read online ) , p. 77-78 .
  6. ↑ (in) , Mercy, Mercy, Mercy! on allmusic () ..
  7. ↑ (in) ‘ Mercy, Mercy, Mercy! – Live at ‘The Club’ » , on Acclaimedmusic.net (consulted in ) .
  8. ↑ (in) Scott Saul, Freedom Is, Freedom Ain’t : Jazz and the Making of the Sixties , Harvard University Press, , 408 p. (ISBN  978-0-674-01148-9 , read online ) , p. 332 .
  9. ↑ (in) Steve Huey, ‘ Mercy, Mercy, Mercy! -review » , on Allmusic.com (consulted the ) .

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