Gerald Cannon: Band Analysis

McCoy Tyner’s regular bass player, Gerald Cannon, has been a valuable sideman since he arrived in NY at the age 28. In his career, he had the privilege to gig with iconic artists such as drummers Art Blakey and Elvin Jones, pianist Cedar Walton, Hammond master Jimmy Smith, and saxophonists Dexter Gordon, Eddie Harris, and Stanley Turrentine, just to name a few.
His reputation has risen exponentially but a busy schedule kept preventing him from recording under his own name. He eventually did it in 2004, on his eponymous album, whose lineup included alto saxophonist Sherman Irby and pianist Rick Germanson, who both joins him on Combinations. By using specific band formats for each tune, Cannon enriches his work with the sound of accomplished
Brisk solos filled with nimble ideas burst from the musical minds of trumpeter Jeremy Pelt, saxophonist Gary Bartz, and ultimately Germanson, who quotes a tiny bit of “Fascinating Rhythm” before trading fours with the drummer.
Also resorting to a bass intro, the vibrant “Columbus Circle Stop” is my favorite of the 11-track list. Cannon’s lick serves as the basis for the A section groove and matching melodies find poise over the piano accompaniment, which almost reproduces the sound of a train on the tracks. Scalding argumentations arise when Irby and Pelt activate the call-response mode, also encouraging the rhythm section to participate in their continual exchanges.
Two classics claim their own space on the track list: while “Prelude to a Kiss” swims in beautiful sentiments drawn from Steve Slagle’s alto sax and Russell Malone’s rounded guitar chops, “Darn That Dream” is design solely by Cannon, whose fingers slip to Parker’s “Donna Lee” once in a while.
Bassist and guitarist team up for a duet on the African-American religious hymn “8” and interact once again on “Gary’s Tune”, this time joined by Bartz and drummer Will Calhoun, to create a smoothly textured crossover