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Joe Zawinul Site - Musicians
Julian "Cannonball" Adderley

 

ADDERLEY "Cannonball" Julian Edwin. American saxophonist (alto, soprano) and composer (Tampa, Florida, 9.15.1928 / Gary, Indiana, 8.8.1975). Son of a cornetist father, he studied music at Tallahassee High School (1944-48), where he learned flute, trumpet, clarinet and alto, before leading an orchestra at Dillard High School in Fort Lauderdale (1948-50), where his drummer friend Lonnie Haynes nicknamed him "Cannibal" because of his appetite - which became "Cannonball". During his military service in the company of Junior Mance and Curtis Fuller -where he led the 36th Army Band- he forms his first group in Washington in 1952, studies at the U.S. Naval School of Music and leads the Fort Knox military orchestra in 1952-53. He returns for two years to Fort Lauderdale, then in 1955 leaves for New York. Arriving a few months after the death of Charlie Parker, he jams at the Cafe Bohemia with the Oscar Pettiford Trio and at the time seems to fill a void : he becomes "The new Parker". Signed to the EmArcy record label, in 1956 he forms a quintet with his brother Nat inspired by the one of Gillespie-Parker, but he puts that activity aside for a while to work with Miles Davis (along with John Coltrane) and George Shearing in 1957-59, then turns it into a sextet (1959). In 1960 he recruits in particular Bobby Timmons, Sam Jones and Louis Hayes. This here, the Timmons composition recorded on "The Cannonball Adderley Quintet in San Francisco", brings the group success this same year another success being his composition Sermonette. The group sees a procession of some of the best musicians of the time : Hank Jones (1958), Bill Evans (1958 and 1961), Wynton Kelly (1959-61), Vic Feldman (1960-61), etc. Starting in 1968, Adderley gladly orientates himself towards a sort of "funk jazz" in the company of Joe Zawinul and then George Duke, electrifies his alto and doubles on soprano. He dies of a cerebral hemorrhage in 1975. Undoubtedly influenced by Parker -although his style, depending on the period (before and after Parker), shows traces of Benny Carter, John Coltrane and even Johnny Hodges- he has been able to detach himself from this influence sufficiently to achieve true originality. With Adderley, speed is not the essential : it is constantly subject to the requirements of the melody. A fluid sonority, full and rounded, lyricism, facility, drive and a great sense of the blues - all these qualities helped his popular success. When Cannonball formed his quartet in 1956, Nat joined him. In 1957-58, he joined J. J. Johnson's band, and in 1959 the big band of Woody Herman. The same year, he re-formed the quintet with his brother, and continued it until the latter's death in 1975. Although Cannonball won most of the glory, Nat had a great deal to do with the quintet's success - especially as regards the repertoire. His compositions -Work Song, Jive Samba- have become classics. Influenced by Fats Navarro, Miles Davis and Dizzy Gillespie, Nat Adderley, although a brilliant specialist on the cornet, was not always able to overcome the technical limitations of the instrument, as witness the occasional indistinct phrase. He compensated for this lack with much tenderness and warmth, virtues he shared with his elder brother.

P. Barithel and Ch. Gauffre Excerpts from "Dictionnaire du Jazz" under the supervision of P. Carles, J. L. Comolli and A. Clergeat, in the "Bouquins" serie, with courtesy of Editions Robert Laffont.

 

Cannonball's discography with Joe Zawinul  

 

ALBUM TITLE

DATE SESSION

LABEL

Ref

SEXTET IN NEW-YORK

jan,12 & 14,1962

RIVERSIDE

RLP-9404

AN ORDERLY EVOLUTION (side 2)

march,10,1962

ALTO REC.

AL 722

LIVE AT COMBLAIN-LA-TOUR

august,04 & 05,1962

RIVERSIDE

RM 499

NANCY WILSON & CANNONBALL 5tet

september,01,1962

CAPITOL

T 1657

JAZZ WORKSHOP REVISITED

sep,22 & 23,1962

RIVERSIDE

RM 444

HOORAY FOR CANNONBALL

november,11,1962

SESSION

119

LUGANO 1963

march,24,1963

TCB

2032

THE JAPANESE 1963 TOUR

 

 

 

A DAY WITH CANNONBALL

june,15,1963

BAYBRIDGE

ULS 6125

THE JAPANESE CONCERT

july,09,1963

MILESTONE

M-47029

LIVE IN TOKYO / Autumn Leaves

july,09,1963

RIVERSIDE

RLP 9501

THE SEXTET

july,14,1963

MILESTONE

M-9106

NIPPON SOUL

july,14,1963

RIVERSIDE

RLP-9477

LIVE !

august,01,1964

CAPITOL

T 2399

Featuring ERNIE ANDREWS

october,04,1964

CAPITOL

T 2284

FIDDLER ON THE ROOF

october,19,1964

CAPITOL

ST-11008

DOMINATION

april,26,1965

CAPITOL

ST 2203

GREAT LOVE THEMES

april,06,1966

CAPITOL

T 2531

LIVE IN PARIS

april,23,1966

ULLYSSE

AROC 50709

MERCY,MERCY,MERCY

july,1966

CAPITOL

SN 16153

CANNONBALL IN JAPAN

august,26,1966

CAPITOL

ECJ-50082

JAZZ AT MONTEREY

september,17,1966

?

?

74 MILES AWAY

1967

CAPITOL

ST 2822

WHY AM I TREATED SO BAD

1967

CAPITOL

ST 2617

RADIO NIGHTS

1967/68

VIRGIN

VNCD2

Dizionario Enciclopedico del Jazz (it. Bootleg)

march,14,1969

DEJ

09

Musica jazz (italian Bootleg)

march,19,1969

MJCD

1093

LIVE AT PLEYEL

march,27,1969

TREMA

710381

COUNTRY PREACHER

october,1969

CAPITOL

80 411 (D)

ALTO GIANT

1969

JOKER

UPS-2057

THE PRICE YOU GO TO PAY

1970

CAPITOL

SWBB 636

IN PERSON

1970

CAPITOL

ST 162

THE EXPERIENCE IN E

june,1970

CAPITOL

ST 484

LOVERS

june,24,1975

CAPITOL

F-9505

 

Photo and discography: courtesy of Gilles Miton,
"The Cannonball Adderley Rendez-Vous"

 

 

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