Julian and Yusef do not appear on this one as Nat dominates with a bright sunshine muted trumpet solo. The album closes with Zawinul’s “Seventh Son”, which sounds like another one of Joe’s somewhat commercial soul jazz tracks. Side two opens with another energy track, but then switches gears for the more abstract and mysterious “Syn-Anthesia” which has the group working like a small orchestra. Over the years Joe will not play this way much again, so its interesting hear him in this style on here.
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The Adderly Brothers show their bop roots, but also branch out into some odd sounds and effects while Zawinul is in full hard bop mode as he channels Bud Powell. Hearing his oboe may remind some of how influential Yusef was on Les McCann’s mystical, “Invitation to Openness”. Yusef goes Coltrane-beast on the first track, but then breaks out the oboe for some Eastern flavored runs on “Brother John”. The two lengthy tracks on side are both up tempo modal hard bop. Louis Hayes’ drumming in particular reflects today’s style in that he swings, but he does not confine himself to the ride cymbal, instead he is all over the set, much like today’s drummers. The songs are very forward looking and in many ways sound a lot like the jazz you hear today in the second decade of the new century.
Yusef wrote the four live tracks, and the music reflects his semi avant-garde post bop with some Eastern modal leanings. Technically this is Julian’s (Cannonball) album, but it seems more like a Yusef Lateef album. It certainly does not sound like a comp until you get to “Seventh Son”, which is quite different from the other tracks. The first four tracks feature the same band and all in live settings. The cover says that these songs have been released before, but doing a short casual search I could only find two of the tracks on Cannonball's Sextet in New York live album. “Planet Earth” is an excellent album, yet few seem to know it even exists. Three of the tracks are Witzel originals. “If Ever I Would Leave You” starts with a Latin feel, but then goes into an aggressive swing feel for one of Brian’s best B-3 buildups. In between we have a relaxed, almost spacey take on “Norwegian Wood” and a ballad rendition of “I Loves You, Porgy” that has Jim double tracking his guitars. The two opening tracks and “Beyond Bejing” are fast moving swingin hard bop, while the two closing tracks take on a more medium groove 60s Blue Note feel. Brian has an interesting style on the B-3 in that he avoids a lot of the standard B-3 soul jazz figures and instead plays with a more flowing melodic style that can build in intensity. Dann is probably the most fiery soloist here as he veers from blues based licks to fast flying sheets of sound that recall Coltrane or Johnny Griffin.
On three tracks they are joined by tenor saxophonist Dann Zinn. Jim is joined on here by some old friends and jam session cohorts, Jason Lewis on drums and Brian Ho on B-3, making them a classic soul jazz organ trio. He counts those two, as well as Kenny Burrell, Joe Pass, Wes Montgomery, George Benson, Pat Martino and John Abercrombie as influences. Witzel’s style is blues based hard bop, but he plays with a soft tone similar to Jim Hall or Pat Metheny. Jim Witzel is a veteran jazz guitarist who has worked with artists such as John Patitucci, Ernie Watts, John Abercrombie and many others in LA, San Francisco and elsewhere, but “Feelin It” is only his second album as a leader, and it comes a full twenty years after his first album.
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