Cannonball Adderley
Albums
![Somethin' Else [RVG Edition]](/cache/JHS/k3/130x130_on-sale_k33581kqn7y.png)
It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue -- aside from Cannonball Adderley, you have a [more]
![Fiddler on the Roof [Bonus Tracks]](/cache/JHS/f8/130x130_f87140pvu4v.jpg)
It is a bit strange that none of the eight songs performed on this LP found their way into Adderley's permanent repertoire, for the altoist is quite inspired [more]
Cannonball Adderley is in excellent form on this live date recorded on August 5, 1962, at the International Jazz Festival in Comblain-La-Tour, Belgium. The alto [more]
![Domination [Bonus Tracks]](/cache/JHS/g9/130x130_g96849p4mxj.jpg)
One of the lesser sessions from Cannonball Adderley's days with Capitol, Domination features arrangements by Oliver Nelson and William Fischer. Recorded in April of [more]
Thanks to its ownership of some of Cannonball Adderley's Riverside recordings, Capitol was able to stretch the definition of Best of Cannonball [more]
Cannonball Adderley's most popular album, Mercy, Mercy, Mercy wasn't actually recorded "Live at 'The Club'," as its subtitle says. The hoax was [more]
Recorded in early 1960, Them Dirty Blues contains two classic jazz compositions: Nat Adderley's "Work Song" and Bobby Timmons' "Dat Dere," the sequel to "This Here." This was [more]
In 1963 Cannonball Adderley signed with the Capitol label, retaining the rights to some master tapes recorded earlier while he was with Riverside. This CD (a straight [more]
The cool jazz that Miles Davis was forging around the same time gets more critical ink, but when a layman thinks about Jazz with a capital "J," the music that comes to mind [more]
Excellent bebop comes from the great altoist Cannonball Adderley and his original quintet (which co-starred cornetist Nat Adderley and pianist Junior Mance). [more]
Appearances
This is basically a Charlie Parker album that Miles Davis plays on, largely consisting of old Dial masters. Only on the August 1947 session is Davis listed as leader -- the date which [more]
It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue -- aside from Cannonball Adderley, you have a [more]
It is a bit strange that none of the eight songs performed on this LP found their way into Adderley's permanent repertoire, for the altoist is quite inspired [more]
Cannonball Adderley is in excellent form on this live date recorded on August 5, 1962, at the International Jazz Festival in Comblain-La-Tour, Belgium. The alto [more]
One of the lesser sessions from Cannonball Adderley's days with Capitol, Domination features arrangements by Oliver Nelson and William Fischer. Recorded in April of [more]
The music is predictable but pleasing on this consistent CD, recorded at the 1960 Newport Jazz Festival. Cannonball Adderley's Quintet (with trumpeter Nat [more]
In jazz, ballads have a way of separating the men from the boys and the women from the girls. They show what an improviser is made of emotionally. On ballads, [more]
"[Kind of Blue] Must have been made in heaven." —Jimmy Cobb
Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally [more]
"It is a new score, with its own integrity, order and action." —Jack Chambers, Miles Davis' biographer
Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular [more]
Thanks to its ownership of some of Cannonball Adderley's Riverside recordings, Capitol was able to stretch the definition of Best of Cannonball [more]
Biography
- Born Sep 15th 1928 in Tampa, FL
- Died Aug 8th 1975 in Gary, IN
- Styles
- Soul Jazz
- Instrument(s)
One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.
Adderley already had an established career as a high school band director in Florida when, during a 1955 visit to New York, he was persuaded to sit in with Oscar Pettiford's group at the Cafe Bohemia. His playing created such a sensation that he was soon signed to Savoy and persuaded to play jazz full-time in New York. With his younger brother, cornetist Nat, Cannonball formed a quintet that struggled until its breakup in 1957. Adderley then joined Miles Davis, forming part of his super sextet with John Coltrane and participating on such classic recordings as Milestones and Kind of Blue. Adderley's second attempt to form a quintet with his brother was much more successful for, in 1959, with pianist Bobby Timmons, he had a hit recording of "This Here." From then on, Cannonball always was able to work steadily with his band.
During its Riverside years (1959-1963), the Adderley Quintet primarily played soulful renditions of hard bop and Cannonball really excelled in the straight-ahead settings. During 1962-1963, Yusef Lateef made the group a sextet and pianist Joe Zawinul was an important new member. The collapse of Riverside resulted in Adderley signing with Capitol and his recordings became gradually more commercial. Charles Lloyd was in Lateef's place for a year (with less success) and then with his departure the group went back to being a quintet. Zawinul's 1966 composition "Mercy, Mercy, Mercy" was a huge hit for the group, Adderley started doubling on soprano, and the quintet's later recordings emphasized long melody statements, funky rhythms, and electronics. However, during his last year, Cannonball Adderley was revisiting the past a bit and on Phenix he recorded new versions of many of his earlier numbers. But before he could evolve his music any further, Cannonball Adderley died suddenly from a stroke. ~ Scott Yanow, All Music Guide
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