Nancy Wilson/Cannonball Adderley
There are two Nancy Wilsons in the world of music and probably quite a few more than two in the actual world. I became aware of this conundrum when my Facebook profile decided to link my liking of Nancy Wilson to the picture of the Nancy Wilson from the band Heart. It’s not the right Nancy. There is a Nancy Wilson of jazz who should be showing on my Facebook page and whose name you should know. And beyond just knowing her name, there is an album that needs to go in your collection: Nancy Wilson/Cannonball Adderley.
Saxophonist Julian “Cannonball” Adderley met a young Nancy Wilson and according to the album’s original liner notes, was impressed by Wilson’s tone, style, and confidence and “felt she just had to go a long way.” He was right in that prediction: Wilson was soon to be signed by Capitol Records and embark on a 50+ year career as a jazz vocalist. In 1961 Wilson joined Cannonball’s quintet and recorded an album that was to become a classic.
The first line sung by Wilson on the album encapsulates her style. The bass and percussion, followed by horns and piano, provides a quiet, restrained introduction to the lyric: “Wish I knew,” she sings, lightly throwing out the first word and letting the last trail off in lovely, quiet vibrato. In the next part of the phrase the warmness has left and the line reaches a brassy, dynamic peak: “Why I’m so in love”, and fades back quietly, “with you.” Wilson is a master storyteller, which is evident in her phrasing and deliberate treatment of words. And I don’t think I’ve come across another singer who uses dynamics the way that she does. Light and warm of tone or heavy and bright, Nancy Wilson uses everything in her vast vocal capabilities to get the point of the lyric across. And she does that quite well.
Cannonball Adderley shares those musical qualities. “Never Will I Marry” is a hard swinging tune written by Frank Loesser and as Wilson finishes the lyric the first time through, Cannonball enters to solo with a bright, lyrical tone that perfectly complements Wilson’s. Listen to the first tune to hear the chemistry between two incredible musicians: the second verse features Wilson presenting the phrase vocally and Cannonball’s response on the horn. It’s a conversation and they are on the same page.
Cannonball’s band features his brother, Nat Adderley, on cornet, Joe Zawinul on piano, Sam Jones on bass, and Louis Hayes on drums. The group is tight and swinging and Wilson seems to function as a real member of the band, not just a vocalist. They are all stellar musicians, featured in turn, yet working cohesively together to create a great sound. The songs on this album aren’t the typical often-covered jazz standards. They are interestingly arranged and packaged to run at just over 40 minutes, which makes this album a treat to listen to in a single sitting. Five songs feature the quintet by themselves and six are vocal tunes.
This album is one project of a trove of music created by both of these artists. Cannonball Adderley’s band was active and popular in the 1960’s and he gained notoriety from his work with many other great musicians (heard of “Kind of Blue”?) And Nancy Wilson is still having a prolific career (among other accomplishments, she was the host of NPR’s “Jazz Profiles” for the show’s nearly 10 year run.) But this album remains in my mind as a highlight in both careers. It stands as a great example of musical collaboration and highlights the fun of jazz.
