Saxophonist Tony Kofi is set to release Another Kind of Soul, a live recording in tribute to Cannonball Adderley, on April 24, 2020 via Last Music Company. Adderley was an inspiration to Kofi, and this recording traces the alto legend’s career from his first sessions as leader in the mid-1950s through work with Miles Davis to the soul-jazz of the 1960s.
“The first recording I ever heard of Cannonball’s was of the quintet with the opening track ‘Arriving Soon,'” Kofi said in an official statement. “It opens with his lone saxophone. I was 17 and from that moment on, I was hypnotized as if the pied piper had called out to me. I swore that before I got a good technique on the saxophone, I would first acquire a voice that people could recognize and relate to. Cannonball’s sound is like a human voice. He had his own personal sound, which is like finding the rarest diamond that only belongs to you. His sense of rhythm was a revelation.”
Dubbed “Cannonball” in his teenage years, Julian Adderley became one of the of the best-loved figures in post-war jazz. He had already been hailed as “the new Bird” when he recorded with Miles Davis and John Coltrane, as well as featuring on many crossover numbers. He was considered one of the pioneers of soul-jazz, and “Mercy Mercy Mercy” proved a popular hit. Spanning bebop to jazz-funk, he was an unfailingly inventive and communicative virtuoso. He died on Aug. 8, 1975, and 2020 would have been his 92nd year.
Kofi’s quintet on Another Kind of Soul features Andy Davies (Andy Davies’ Quartet, Will Young, McFly) on trumpet, Alex Webb (China Moses, Mina Agossi, Sandra Nkake, Liane Carroll, Allan Harris, Alexia Gardner Alexander Stewart and more), on piano, Andrew Cleyndert, (Don Weller/Bryan Spring Quartet, Clark Tracey, Iain Ballamy, Bud Shank and others) on bass and Alfonso Vitale (Bobby Watson, Kenny Barron, Buster Williams, Steve Swallow, Renato D’Aiello) on drums. With a stellar line up assembled, the expectation for this live recording at the Bear Club in Luton was high.
“A Portrait of Cannonball” opens the recording and was composed for the project by Alex Webb, exploring Adderley’s breadth of style. It is a great tribute, with explosive interludes morphing exquisitely into a gentle solo which rises and soars. Tony Kofi’s sax makes the most of the short time the track allows. “Operation Breadbasket” is heavy on rhythms and gorgeous in the passages, which are short, sharp and backed by deeply textured bass, percussion and is reminiscent of Adderley playing live with his brother Nat. The trumpet of Andy Davis provides the sweetest of solos. “Operation Breadbasket” has an inherent energy and was written by Kofi in tribute to Cannonball’s support of young musicians.
“Another Kind of Soul” is a completely stand-out track featuring each musician and giving them a chance to shine. From the explosive intro to the paired sax and trumpet to the harmonics explored, this song is captivating and explorative. A sax solo which features a range of techniques strung together and some gloriously reedy top notes, is engaging while Davis’ trumpet again takes wings and soars out the window. The piano is tinkly with dexterous fingering, and there is lovely harmonic ascension before the ensemble join and then make way for a short drum solo before the finish. Beautiful music.
Frank Perkins’ “Stars Fell on Alabama” was a Cannonball Adderley favorite, and here it includes a completely and utterly wonderful solo by Tony Kofi that’s emotive, clear and driven. There is not much I can add, apart from the fact this is a great number, well composed and delivered with respect. It’s also a display of great saxophone playing.
“Things Are Getting Better” is a contrast with its swingy, easy delivery. It was the title track of Adderley’s 11th album, and his essence again seems to come out of the speakers. This update is playful, yet imbued with a sense of exploration, and the sax sings out the melody. The extended glissandos up to the key notes are mesmerizing. The solo on piano is just as gleeful and it is clear this song is enjoyed both by the players and the live audience, whose appreciation is shown after every solo. One which is impressive is that of Andrew Cleyndert on bass. Even the final phrase feels like fun, as the sax picks up the melody and the the whole ensemble delivery a final, sweeping outro.
“Sack O’ Woe” was actually released by Nat Adderley first and is such a great tune, it is no wonder many have covered it. Here, the song is delivered true to Adderley style with almost as much gusto as the original recording with a heavier Herbie Mann arrangement. “Sack O’ Woe” later appeared on Adderley’s Work Song album. For Another Kind of Soul, Kofi’s quintet takes the melody, the introduced riffs and blues-infused fast-paced lines and shares them among themselves, delivering a very listenable performance. The bass line running underneath is well worth tuning into – as is the bass solo, which commands utter silence from the audience until it finishes.
“Work Song,” possibly Cannonball Adderley’s signature number, is arranged to rightly shine the light on the sax – but also allows a generous platform to the other members of the quintet. A work song was composed to help workers performing mundane, repetitive tasks; giving them something to think about, sing and listen to while they worked. With Tony Kofi’s version, mundane goes right out the door. The ensemble plays with the melody, steals the limelight, hands it back, offering a fun, and gloriously celebratory delivery.
Another Kind of Soul is great listening, and has a wonderful ambience which is only achieved with live recordings. From Tony Kofi’s introductions to some of the tracks to the stifled coughs and movements of the audience, as well as thunderous applause from the packed club that night, the atmosphere can be felt.
Still, there is a slight poignancy to this album – firstly, because Cannonball Adderley was underrated at the time he was playing. Secondly, one of Kofi’s saxes once belonged to a player in Ian Dury’s band. Thirdly, because the Bear Club in Luton, where this recording took place, is closing in May 2020 – despite being recently voted as one of the world’s best jazz venues.
I have seen Kofi play a few times, both with his quintet and with other collaborators. He won the best instrumentalist award at the 2008 BBC Jazz Awards, best ensemble at the 2005 Parliamentary Jazz Awards, album of the tear at the 2005 BBC Jazz Awards and was nominated for a MOBO award in 2008. Originally from Nottingham, UK, and born to West African parents, Tony spent a four years at Berklee College of Music in Boston. Since then, he has performed with the World Saxophone Quartet, Clifford Jarvis, Courtney Pine, Donald Byrd, Dr. Lonnie Smith, Eddie Henderson and many others. Between 2003-04, Tony was an integral part of the Anglo-American Big Band of Andrew Hill and the Sam Rivers Rivbea Orchestra. He has also recorded with Jamaaladeen Tacuma and Ornette Coleman, as well as with his own bands. Tony Kofi’s previous release Point Blank, a 2018 collaboration with the Organization, gained a five-star review in BBC Music Magazine.
“I’ve made lots of albums but this one is different,” Kofi told me. “Recording a live album carries a lot of pressures and stepping into the shoes of a jazz giant like Cannonball is hard, but I tried my best.”
If this recording is anything to go by, his best is good, indeed.
‘Another Kind of Soul’ is being released on limited-edition vinyl – the medium of Cannonball Adderley’s era – in order to best replicate the ambience of this remarkable live recording. It’s also available in digital formats.
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