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Alabama/Africa (Alabama Concerto/African Waltz)

LP (Item 411447) Riverside, 1958 — Condition: Near Mint-
2LP Gatefold
Temporarily Out Of Stock

LP, Vinyl record album

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2 fantastic albums, not really in the same bag, but combined for reissue that still works nicely as a set. The first LP, John Benson Brooks' Alabama Concerto was groundbreaking work – not only for Cannonball, but for the jazz concerto format, used to strong effect here in this extended modernist composition. The album's based on a number of historical and mythical southern themes – which keeps it from swinging hard all the way through, the work of Adderley and Art Farmer on the solo sections really opens up the piece and gives it a deep sense of soul. Other players include Barry Galbraith on guitar, Milt Hinton on bass, and Brooks on drums – and themes include "The Loop", "Trampin", "Little John Shoes", "Milord's Calling", and "Rufus Playboy". African Waltz changes up the format entirely, with Adderley's alto fronting a large group conducted by Ernie Wilkins, and featuring a host of hip players like Melba Liston, Oliver Nelson, Jerome Richardson, Ray Barretto, Sam Jones, and Wynton Kelly. The title track is a beautiful reading of Galt MacDermott's "African Waltz" – and other tracks include "Blue Brass Groove", "Something Different", "The Uptown", and "Letter From Home". Wilkins outdoes himself on this one, really providing some strong swinging arrangements that work well with the complicated groove of the project – and in a way, the record feels more like Randy Weston or Melba Liston's at the helm.  © 1996-2020, Dusty Groove, Inc.

Near Mint - (minus)

  • Black vinyl that may show a slight amount of dust or dirt.
  • Should still be very shiny under a light, even with slight amount of dust on surface.
  • One or two small marks that would make an otherwise near perfect record slightly less so. These marks cannot be too deep, and should only be surface marks that won't affect play, but might detract from the looks.
  • May have some flaws and discoloration in the vinyl, but only those that would be intrinsic to the pressing. These should disappear when the record is tilted under the light, and will only show up when looking straight at the record. (Buddah and ABC pressings from the 70's are a good example of this.)
  • May have some slight marks from aging of the paper sleeve on the vinyl.
  • Possible minor surface noise when played.

Additional Marks & Notes

If something is noteworthy, we try to note it in the comments — especially if it is an oddity that is the only wrong thing about the record. This might include, but isn't limited to, warped records, tracks that skip, cover damage or wear as noted above, or strictly cosmetic flaws.



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