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Diva Nancy Wilson was among contemporary music's most stylish and sultry vocalists. While often crossing over into the pop and R&B markets she remained best known as a jazz performer, renowned for her work alongside figures including Cannonball Adderley and George Shearing. An excellent collaboration of the Nancy Wilson voice with the Cannonball Adderley alto sax from the early '60s. While this 1961 recording was the first time Wilson was with Adderley in the studio, it was not the first time they had worked together. After singing with Rusty Bryant's band, Wilson had worked with Adderley in Columbus, OH.
Recorded in NYC All tracks with Nancy: recorded in NYC June27 & 29 1961, All instrumental tracks: recorded in NYC August 23&24,1961 side One1.SAVE YOUR LOVE FOR ME (vocal) BuddyJohnson (2:38)2. TEANECK (instrumental) Nat adderley (4:30)3. NEVER WILL I MARRY (vocal) Frank loesser (2:16)4. I CAN'T GET STARTED (instrumental) Vernon& Gershwin ( 4:55)5. THE OLD COUNTRY (vocal) Curtis & Adderleynat (2:57)6. ONE MAN'S DREAM (instrumental) Zawinul &Wright (5:09)side Two7.HAPPY TALK (vocal) Rodgers& Hammerstein II (2:21)8.
NEVER SAY YES (instrumental) Adderley Nat (3:57)9. THE MASQUERADE IS OVER (vocal) Magidson &Wrubel (4:15)10. UNIT 7 (instrumental) Jones (6:04)11. A SLEEPIN' BEE (vocal) Arlen & Capote (2:32) ON CD Reissue (1993), one bonus track12.LITTLE UNHAPPY BOY (vocal)Curtis Lewis (2:14) Produced by TOM MORGANand ANDY WISWELLJulian'Cannonball' Adderley and Nat Adderley appear throughcourtesy of Riverside Records.
Louis Hayes appears through thecourtesy of Vee Jay Records. One night about four years ago inColumbus, Ohio, a willowy young singer took a busman's holiday from her job as vocalistwith Rusty Bryant's band to join friends for an evening at the502 Club-a local jazz emporium where a rather remarkable,up-and-coming alto saxophone player and his swinging combo wereappearing.The girl was Nancy Wilson, and theyoung man with the horn was Julian 'Cannonball'Adderley. Their chance meeting that night will always bewell-remembered by both of them.' Nancy did some tunes withthe band that night,' Cannonball reflects,'unrehearsed, off-the-top-of-the-head stuff.
Even then, thisyoung kid had so much to offer-tone, style, confidence-I felt shejust had to go a long way.' Adderley's prophecy of stardom forNancy has certainly been fulfilled since that first casualget-together just a few short years ago. For today Nancy Wilsonis in every way a big-leaguer, a fast-rising young singing starwho is just beginning to realize her full potential as anin-person performer as well as a top recording artist for CapitolRecords.' Cannonball has helped me somany times,' Nancy remembers.
'When I first came to NewYork, the first person I called when I got off the bus wasCannon.' In New York, Nancy pounded anoffice typewriter by day and sang by night, the latter in a Bronxjazz spot known as the Blue Morocco. If was here (at Cannonball'surging) that John Levy, former bassist with the famed GeorgeShearing Quintet and now the manager of Shearing, Adderley, andmany other stars of jazz, first heard Miss Wilson.
One listeningwas the clincher, and from that evening on Levy took the newsinger in tow.This was the start of manyexciting developments for the girl from Columbus, not the leastof which was the enthused reaction to her singing by CapitolRecords' executive producer, Dave Cavanaugh. Frankly, Cavanaughsimply flipped and signed her right away. Her albums to date havewon her a throng of new friends. Critics, their tastes oftenjaded by an endless parade of new jazz singers, have beenunanimous in their praise of Nancy's remarkable phrasing, tone,control, and dynamics.This album reaches a new highpoint in the Wilson-Adderley mutual admiration society. Nancysums it up this way:'We've wanted to do this formonths,' she enthused. 'But we wanted it to bespontaneous and relaxed. So we waited till the time was right forboth of us.
We wanted a happy, romping sound. It would beCannonball's quintet with me fitting in as a sort of easy-goingthird horn on some nice songs that haven't already been 'heard todeath' on records.'
Cannonball on alto; Brother NatAdderley on cornet; Louis Hayes on drums; Sam Jones on bass andJoe Zawinul on piano; that's the quintet whose wide range of jazzideas and driving appeal reaches (as Time Magazine put it)'to the very fringe of squaredom.' And Nancy's response to theirgreat sound is really something to hear, as she sings with aversatility compounded alternately of savagery and delicacy,displaying the remarkable voice that has already convinced theentire music world that young Nancy Wilson has, to put it mildly,'arrived.'