Album Review: Gerald Cannon – Live at Dizzy’s Club
One quick glance at the stylized cover of Gerald Cannon’s Live at Dizzy’s Club hips the uninitiated to the fact that the record is likely to serve up some classic-era styled jazz. A closer look tells us that the two-LP set honors the music of Elvin (Jones) and McCoy (Tyner). Those two clues are enough to get the intrepid jazzophile to remove the shrink wrap and place one of the platters on this or her turntable.
Once the needle drops into the groove, the music bursts out of the speaker right away. “EJ’s Blues” lays down the head quickly, smartly moving into solo territory as quickly as circumstances allow. The septet blows madly; listeners get to hear tasty solos (or their quick-fill equivalents) from each of the masters onstage.
Along with bassist Henderson, the lineup includes trumpeter Eddie Henderson, Sherman Irby on alto sax, Joe Lovano on tenor sax, trombonist Steve Turre, pianist Dave Kikoski and Lenny White on drums. Listeners who want out-there musical exploration will find their needs met, but the whole affair is firmly rooted in accessible jazz melody. As the tin indicates, it’s a live set, but the applause that greets each solo never intrudes on the proceedings; instead it adds to the you-are-there vibe.
Were it not for the crystalline sonics of the recording, one might easily mistake Live at Dizzy’s Club for a vintage recording of the late ‘70s or early 1960s. Everything about it is that good. The septet mixes things up nicely, too: Cannon’s original “Three Elders” is soft, sultry and romantic. The piano sparkles and the music sways; Henderson channels ‘50s Miles while maintaining his own character. Elvin’s “3 Card Molly” sports a sound that feels like a bigger band: not cluttered, but complex, forceful and assured. The group’s reading of the McCoy Tyner composition “Blues In the Minor” swings hard. A reading of Tyner’s sophisticated “Home” is equal parts strength and subtlety.
A scintillating set that showcases the chemistry that can occur when seven world-class players team up to showcase classic works (and originals that fit seamlessly alongside ‘em), Live at Dizzy’s Club is enthusiastically recommended.
About the Author
Bill Kopp
With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day for several years). The more than 5000 interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He regularly hosts lecture/discussions on artists and albums of historical importance (including monthly events Music to Your Ears and Music Movie Mondays), and is a frequent guest on music-focused radio programs and podcasts. In Spring 2023 he taught a history of Rock 'n' Roll at UNC Asheville's College for Seniors. He also researches and authors liner notes for album reissues -- some 40 to date -- and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon was published by Rowman & Littlefield in 2018, and in paperback in 2019. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, was published in 2021 by HoZac Books. His third book, What's the Big Idea: 30 Great Concept Albums is available now. Read even more about him here.