www.zawinulfans.org
|
IMPORTANT NOTICE
Joe
Zawinul Site - Musicians
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 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,
|