Review by Richard S. Ginell
For his second and alas, last album for A&M, Nat Adderley reunites with Joe Zawinul and the greatly underrated arranger Bill Fischer, this time with a tight, often surprisingly progressive concept in mind. All the tunes are by the above three, all are linked by classical arrangements for winds to form a suite, yet both Adderley and Zawinul are given plenty of room to burn. Nat's "Biafra," clearly written with the then-raging Nigerian civil war in mind, sets the thoughtful mood, contrasting a moving dirge with buoyant extended solos by Adderley and Zawinul. Adderley plays both acoustic and electric Varitone cornet; it's amazing how the latter alters his boppish personality into something more sensitive and soulful. Fischer's charts are always intriguing, brooding even when the music is joyous, and already Zawinul is displaying some of the freedom on electric piano that would soon emerge with Miles Davis and Weather Report. Indeed, Zawinul's "Grey Moss" and Fischer's "Nobody Knows" sound like cautious prototypes for portions of Miles' Bitches Brew. A fascinating album, beautifully produced, with mordant cover art (firecrackers).
https://www.allmusic.com/album/calling-out-loud-mw0000870790
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Reseña de Richard S. Ginell
Para su segundo y, por desgracia, último álbum para A&M, Nat Adderley se reúne con Joe Zawinul y el muy infravalorado arreglista Bill Fischer, esta vez con un concepto ajustado, a menudo sorprendentemente progresivo, en mente. Todas las melodías son de los tres citados, todas están enlazadas por arreglos clásicos para vientos para formar una suite, aunque tanto Adderley como Zawinul tienen mucho espacio para explotar. Biafra» de Nat, claramente escrita pensando en la guerra civil nigeriana que se libraba en aquel momento, establece un ambiente reflexivo, contrastando una conmovedora canción fúnebre con los boyantes solos extendidos de Adderley y Zawinul. Adderley toca tanto la corneta Varitone acústica como la eléctrica; es asombroso cómo esta última altera su personalidad chillona y la convierte en algo más sensible y conmovedor. Los gráficos de Fischer son siempre intrigantes, melancólicos incluso cuando la música es alegre, y ya Zawinul está mostrando algo de la libertad en el piano eléctrico que pronto surgiría con Miles Davis y Weather Report. De hecho, «Grey Moss» de Zawinul y «Nobody Knows» de Fischer suenan como cautelosos prototipos de partes de Bitches Brew de Miles. Un álbum fascinante, magníficamente producido, con una portada mordaz (petardos).
https://www.allmusic.com/album/calling-out-loud-mw0000870790
Tracks:
01 - Biafra 06:32
02 - Haifa 04:57
03 - St. M 03:36
04 - Grey Moss 03:45
05 - Nobody Knows 05:53
06 - Comin' Out The Shadows 05:08
07 - Ivan's Holiday 03:13
08 - Calling Out Loud 03:21
Credits:
Arranged By, Conductor – Bill Fischer*
Bass – Ron Carter
Bass Clarinet – Romeo Penque
Bassoon – Donald MacCourt
Clarinet, English Horn – George Marge
Cornet – Nat Adderley
Design – Sam Antupit
Drums – Leo Morris
Electric Piano – Joe Zawinul
Flute, Piccolo Flute – Hubert Laws
French Horn – Paul Ingraham
Liner Notes – Jon Borgzinner
Photography By [Cover] – Pete Turner
Producer – Creed Taylor
Saxophone – Danny Bank (tracks: Track 1), George Marge (tracks: Track 1), Jerome Richardson, Jerry Dodgion (tracks: Track 1), Richard Henderson* (tracks: Track 1), Seldon Powell
Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey
Recorded November 19, 21 and December 4, 1968 at Van Gelder Studios
Engineer – Rudy Van Gelder
Label: A&M Records – SP-3017, CTI Records – SP-3017
Country: US
Released: 1969
Genre: Jazz
Style: Hard Bop, Soul-Jazz
https://www.discogs.com/release/1051675-Nat-Adderley-Calling-Out-Loud
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