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CANNONBALL ADDERLEY
Admin Paz Ocak 17, 2010 2:13 pm
CANNONBALL ADDERLEY
http://www.jazzmafia.com/news/adams-hip-hop-sampled-frmo-cannonball-adderley-playlist/
http://www.cannonball-adderley.com/
http://www.jazzdisco.org/cannonball-adderley/
http://destinyland.mondoglobo.net/2006/08/23/the-war-of-the-singing-rodents/
http://www.10zenmonkeys.com/2006/10/29/haunted-by-chipmunk-ghosts/
http://allmusic.com/cg/amg.dll?p=amg&sql=11:difixqr5ldte
http://www.npr.org/templates/story/story.php?storyId=15404098
Birth name: Julian Edwin Adderley
Born: September 15, 1928(1928-09-15) Tampa, Florida
Origin: United States
Died: August 8, 1975 (aged 46) Gary, Indiana
Genres : Jazz, Soul jazz
Occupations: Teacher, musician
Instruments. Alto saxophone, soprano saxophone
Years active. 1955–1975
Labels Blue Note, Fantasy, Capitol, Prestige, Riverside
Associated acts Nat Adderley
Miles Davis
George Duke
Yusef Lateef
Sam Jones
Joe Zawinul
Louis Hayes
Bobby Timmons
Bill Evans
Julian Edwin "Cannonball" Adderley (September 15, 1928 – August 8, 1975) was a jazz alto saxophonist of the small combo era of the 1950s and 1960s. Originally from Tampa, Florida, he moved to New York in the mid 1950s.
He was the brother of jazz cornetist Nat Adderley.
Early life and career
His educational career was long established prior to teaching applied instrumental music classes at Dillard High School in Fort Lauderdale, Florida. Cannonball moved to Tallahassee, Florida when his parents obtained teaching positions at Florida A&M University. Both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s. Cannonball was a local legend in Florida until he moved to New York City in 1955, where he lived in Corona, Queens.
It was in New York during this time that Adderley's prolific career began. Adderley visited the Cafe Bohemia (Oscar Pettiford's group was playing that night) where he brought his saxophone into the club with him, primarily because he feared that it would be stolen. He was asked to sit in as the saxophone player was late, and in true Cannonball style, he soared through the changes, and became a sensation in the following weeks.
Prior to joining the Miles Davis band, Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1957. He was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group.
Adderley joined the Miles Davis sextet in October 1957, three months prior to John Coltrane's return to the group. Adderley played on the seminal Davis records Milestones and Kind of Blue. This period also overlapped with pianist Bill Evans's time with the sextet, an association that led to recording Portrait of Cannonball and Know What I Mean?.
His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child's Introduction to Jazz, released on Riverside Records.
Band leader
The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet. Adderley's first quintet was not very successful; however, after leaving Davis' group, he formed another, again with his brother, which enjoyed more success.
The new quintet (which later became the Cannonball Adderley Sextet), and Cannonball's other combos and groups, included such noted musicians as:
pianists Bobby Timmons, Victor Feldman, Joe Zawinul, Hal Galper, Michael Wolff, George Duke
bassists Ray Brown, Sam Jones, Walter Booker, Victor Gaskin
drummers Louis Hayes, Roy McCurdy
saxophonists Charles Lloyd, Yusef Lateef.
The sextet was noteworthy towards the end of the 1960s for achieving crossover success with pop audiences, but doing it without making artistic concessions.[citation needed]
Later life
By the end of 1960s, Adderley's playing began to reflect the influence of the electric jazz avant-garde, and Miles Davis' experiments on the album Bitches Brew. On his albums from this period, such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970), he began doubling on soprano saxophone, showing the influence of John Coltrane and Wayne Shorter.[citation needed] In that same year, his quintet appeared at the Monterey Jazz Festival in California, and a brief scene of that performance was featured in the 1971 psychological thriller Play Misty for Me, starring Clint Eastwood.[citation needed] In 1975 he also appeared (in an acting role alongside Jose Feliciano and David Carradine) in the episode "Battle Hymn" in the third season of the TV series Kung Fu.
Joe Zawinul's composition "Cannon Ball" (recorded on Weather Report's album Black Market) is a tribute to his former leader.
Songs made famous by Adderley and his bands include "This Here" (written by Bobby Timmons), "The Jive Samba," "Work Song" (written by Nat Adderley), "Mercy, Mercy, Mercy" (written by Joe Zawinul) and "Walk Tall" (written by Zawinul, Marrow and Rein). A cover version of Pops Staples' "Why (Am I Treated So Bad)?" also entered the charts.
Adderley was a member of Phi Mu Alpha Sinfonia Fraternity of America Incorporated (Xi Omega, Frostburg State University, '70), the largest and oldest secret society in music and Alpha Phi Alpha, the oldest existing intercollegiate Greek-letter fraternity established for African Americans (made Beta Nu chapter, Florida A&M University).
Adderley died of a stroke in 1975. He was buried in the Southside Cemetery, Tallahassee, Florida. Later that year he was inducted into the Down Beat Jazz Hall of Fame.
http://www.jazzmafia.com/news/adams-hip-hop-sampled-frmo-cannonball-adderley-playlist/
http://www.cannonball-adderley.com/
http://www.jazzdisco.org/cannonball-adderley/
http://destinyland.mondoglobo.net/2006/08/23/the-war-of-the-singing-rodents/
http://www.10zenmonkeys.com/2006/10/29/haunted-by-chipmunk-ghosts/
http://allmusic.com/cg/amg.dll?p=amg&sql=11:difixqr5ldte
http://www.npr.org/templates/story/story.php?storyId=15404098
Birth name: Julian Edwin Adderley
Born: September 15, 1928(1928-09-15) Tampa, Florida
Origin: United States
Died: August 8, 1975 (aged 46) Gary, Indiana
Genres : Jazz, Soul jazz
Occupations: Teacher, musician
Instruments. Alto saxophone, soprano saxophone
Years active. 1955–1975
Labels Blue Note, Fantasy, Capitol, Prestige, Riverside
Associated acts Nat Adderley
Miles Davis
George Duke
Yusef Lateef
Sam Jones
Joe Zawinul
Louis Hayes
Bobby Timmons
Bill Evans
Julian Edwin "Cannonball" Adderley (September 15, 1928 – August 8, 1975) was a jazz alto saxophonist of the small combo era of the 1950s and 1960s. Originally from Tampa, Florida, he moved to New York in the mid 1950s.
He was the brother of jazz cornetist Nat Adderley.
Early life and career
His educational career was long established prior to teaching applied instrumental music classes at Dillard High School in Fort Lauderdale, Florida. Cannonball moved to Tallahassee, Florida when his parents obtained teaching positions at Florida A&M University. Both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s. Cannonball was a local legend in Florida until he moved to New York City in 1955, where he lived in Corona, Queens.
It was in New York during this time that Adderley's prolific career began. Adderley visited the Cafe Bohemia (Oscar Pettiford's group was playing that night) where he brought his saxophone into the club with him, primarily because he feared that it would be stolen. He was asked to sit in as the saxophone player was late, and in true Cannonball style, he soared through the changes, and became a sensation in the following weeks.
Prior to joining the Miles Davis band, Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1957. He was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group.
Adderley joined the Miles Davis sextet in October 1957, three months prior to John Coltrane's return to the group. Adderley played on the seminal Davis records Milestones and Kind of Blue. This period also overlapped with pianist Bill Evans's time with the sextet, an association that led to recording Portrait of Cannonball and Know What I Mean?.
His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child's Introduction to Jazz, released on Riverside Records.
Band leader
The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet. Adderley's first quintet was not very successful; however, after leaving Davis' group, he formed another, again with his brother, which enjoyed more success.
The new quintet (which later became the Cannonball Adderley Sextet), and Cannonball's other combos and groups, included such noted musicians as:
pianists Bobby Timmons, Victor Feldman, Joe Zawinul, Hal Galper, Michael Wolff, George Duke
bassists Ray Brown, Sam Jones, Walter Booker, Victor Gaskin
drummers Louis Hayes, Roy McCurdy
saxophonists Charles Lloyd, Yusef Lateef.
The sextet was noteworthy towards the end of the 1960s for achieving crossover success with pop audiences, but doing it without making artistic concessions.[citation needed]
Later life
By the end of 1960s, Adderley's playing began to reflect the influence of the electric jazz avant-garde, and Miles Davis' experiments on the album Bitches Brew. On his albums from this period, such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970), he began doubling on soprano saxophone, showing the influence of John Coltrane and Wayne Shorter.[citation needed] In that same year, his quintet appeared at the Monterey Jazz Festival in California, and a brief scene of that performance was featured in the 1971 psychological thriller Play Misty for Me, starring Clint Eastwood.[citation needed] In 1975 he also appeared (in an acting role alongside Jose Feliciano and David Carradine) in the episode "Battle Hymn" in the third season of the TV series Kung Fu.
Joe Zawinul's composition "Cannon Ball" (recorded on Weather Report's album Black Market) is a tribute to his former leader.
Songs made famous by Adderley and his bands include "This Here" (written by Bobby Timmons), "The Jive Samba," "Work Song" (written by Nat Adderley), "Mercy, Mercy, Mercy" (written by Joe Zawinul) and "Walk Tall" (written by Zawinul, Marrow and Rein). A cover version of Pops Staples' "Why (Am I Treated So Bad)?" also entered the charts.
Adderley was a member of Phi Mu Alpha Sinfonia Fraternity of America Incorporated (Xi Omega, Frostburg State University, '70), the largest and oldest secret society in music and Alpha Phi Alpha, the oldest existing intercollegiate Greek-letter fraternity established for African Americans (made Beta Nu chapter, Florida A&M University).
Adderley died of a stroke in 1975. He was buried in the Southside Cemetery, Tallahassee, Florida. Later that year he was inducted into the Down Beat Jazz Hall of Fame.
Admin- Admin
- Mesaj Sayısı : 2401
Kayıt tarihi : 01/04/08 -
German TV 1963
Admin Paz Ocak 17, 2010 2:21 pm
Julian Edwin « Cannonball » Adderley est un saxophoniste alto, et, accessoirement soprano de jazz, né à Tampa (Floride) le 15 septembre 1928, mort à Gary (Indiana) le 8 août 1975.
Tout d'abord parkérien, mais sans la dimension tragique de ce dernier, il s'inspire aussi d'artistes plus classiques (Benny Carter, Johnny Hodges), en une combinaison originale, empreinte de lyrisme, de sens de la mélodie et du rythme, de légèreté et de rondeur. Sa sonorité énorme, riche et chaleureuse, et sa volonté de conserver au jazz ses racines populaires, firent de lui l'un des chefs de file du soul jazz des années 1960.
Biographie
En 1944-48, il étudie au lycée de Tallahassee où il apprend la flûte, la trompette, la clarinette et l'alto, puis dirige un orchestre scolaire à Fort Lauderdale (1948-50). C'est là que son appétit lui vaut le surnom de « Cannibal » déformé plus tard en « Cannonball ». À l'armée, il rencontre Junior Mance et Curtis Fuller et dirige 36th Army Band, puis un combo à Washington, et enfin l'orchestre militaire de Fort Knox en 1952-53.
Confortablement installé en Floride où il enseigne la musique et dirige plusieurs formations locales, Cannonball Adderley n'émerge qu'en 1955. À l'occasion d'un voyage à New York, sa prestation ponctuelle au sein du groupe d'Oscar Pettiford au Café Bohémia le fait remarquer du label Savoy qui le signe et lui suggère de venir vivre à New York. On commence alors à l'entendre dans les jam sessions et dans des enregistrements de Kenny Clarke et de son frère Nat Adderley, puis, rapidement, sous son propre nom. Il est alors considéré comme « le nouveau Charlie Parker ». À l'instar de celui-ci, il fonde avec son frère Nat Adderley, trompettiste, pour EmArcy, un quintet, puis un sextet en 1959.
En 1958, il devient l'alto attitré de Miles Davis, pour enregistrer quelques uns des disques les plus importants de l'histoire du jazz moderne (Milestone, Kind of Blue). Il invite à son tour Miles Davis sur son album Somethin' Else sorti en 1958, ce sera l'une des rares apparitions phonographiques de Miles en tant que sideman ! Pendant 2 ans, il enregistrera avec John Coltrane, Gil Evans, Machito, Louis Smith, Paul Chambers, Kenny Dorham, Philly Joe Jones.
À partir de 1960, il enregistre à peu près exclusivement sous son propre nom et sous celui de son frère, en compagnie des pianistes Bobby Timmons, Hank Jones, Bill Evans, Wynton Kelly, Vic Feldman, des bassistes Paul Chambers et Sam Jones, des batteurs Albert Heath et Louis Hayes. Des « tubes » : « This here », « Sermonette'n Jive samba », « Mercy, mercy, mercy », produits notamment par David Axelrod, assurent le succès de ce groupe de hard bop.
À partir de 1968, Adderley, avec les pianistes Joe Zawinul et George Duke, il verse dans une musique « bluesy » imprégnée de « funk » ou de « soul », prémisses de toutes les évolutions du jazz.
Il meurt des complications cérébrales de son diabète.
Tout d'abord parkérien, mais sans la dimension tragique de ce dernier, il s'inspire aussi d'artistes plus classiques (Benny Carter, Johnny Hodges), en une combinaison originale, empreinte de lyrisme, de sens de la mélodie et du rythme, de légèreté et de rondeur. Sa sonorité énorme, riche et chaleureuse, et sa volonté de conserver au jazz ses racines populaires, firent de lui l'un des chefs de file du soul jazz des années 1960.
Biographie
En 1944-48, il étudie au lycée de Tallahassee où il apprend la flûte, la trompette, la clarinette et l'alto, puis dirige un orchestre scolaire à Fort Lauderdale (1948-50). C'est là que son appétit lui vaut le surnom de « Cannibal » déformé plus tard en « Cannonball ». À l'armée, il rencontre Junior Mance et Curtis Fuller et dirige 36th Army Band, puis un combo à Washington, et enfin l'orchestre militaire de Fort Knox en 1952-53.
Confortablement installé en Floride où il enseigne la musique et dirige plusieurs formations locales, Cannonball Adderley n'émerge qu'en 1955. À l'occasion d'un voyage à New York, sa prestation ponctuelle au sein du groupe d'Oscar Pettiford au Café Bohémia le fait remarquer du label Savoy qui le signe et lui suggère de venir vivre à New York. On commence alors à l'entendre dans les jam sessions et dans des enregistrements de Kenny Clarke et de son frère Nat Adderley, puis, rapidement, sous son propre nom. Il est alors considéré comme « le nouveau Charlie Parker ». À l'instar de celui-ci, il fonde avec son frère Nat Adderley, trompettiste, pour EmArcy, un quintet, puis un sextet en 1959.
En 1958, il devient l'alto attitré de Miles Davis, pour enregistrer quelques uns des disques les plus importants de l'histoire du jazz moderne (Milestone, Kind of Blue). Il invite à son tour Miles Davis sur son album Somethin' Else sorti en 1958, ce sera l'une des rares apparitions phonographiques de Miles en tant que sideman ! Pendant 2 ans, il enregistrera avec John Coltrane, Gil Evans, Machito, Louis Smith, Paul Chambers, Kenny Dorham, Philly Joe Jones.
À partir de 1960, il enregistre à peu près exclusivement sous son propre nom et sous celui de son frère, en compagnie des pianistes Bobby Timmons, Hank Jones, Bill Evans, Wynton Kelly, Vic Feldman, des bassistes Paul Chambers et Sam Jones, des batteurs Albert Heath et Louis Hayes. Des « tubes » : « This here », « Sermonette'n Jive samba », « Mercy, mercy, mercy », produits notamment par David Axelrod, assurent le succès de ce groupe de hard bop.
À partir de 1968, Adderley, avec les pianistes Joe Zawinul et George Duke, il verse dans une musique « bluesy » imprégnée de « funk » ou de « soul », prémisses de toutes les évolutions du jazz.
Il meurt des complications cérébrales de son diabète.
Admin- Admin
- Mesaj Sayısı : 2401
Kayıt tarihi : 01/04/08 -
The Subject Bebop
Admin Paz Ocak 17, 2010 2:27 pm
The subject bebop usa 1957 jazz szwing
sax: Cannonball Adderley
trombone:Jimmy Cleveland
piano:Billy Taylor
guitar: Mundell Lowe
kontrbas: Eddie Safranski
sax: Cannonball Adderley
trombone:Jimmy Cleveland
piano:Billy Taylor
guitar: Mundell Lowe
kontrbas: Eddie Safranski
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- Mesaj Sayısı : 2401
Kayıt tarihi : 01/04/08 -
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