Cannonball adderley jeannine

Cannonball adderley waltz for debby
Cannonball adderley with strings
I remember you cannonball adderley

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I am writing this in the hope that when you do pick up this album in your favorite record store, that you will take the opportunity to listen to a bit of it. Just a couple of choruses by "CANNON BALL" will be enough to assure you of his stature as a Jazzman. This is not necessarily an introduction to "CANNON BALL" as he was introduced on records via a previous album called "BOHEMIA AFTER DARK," SAVOY MG-12017, which was just released a week before this. If you've already heard that album, you are sure to pick up this one also as here "CANNON BALL" is given quite a bit more time to express himself as this album features less horns, two, as against four in the "BOHEMIA AFTER DARK" Album. What I'm trying to say is that this is "CANNONBALL's" date and, as a leader, he blows more solos than do his very capable assistants. His brother, Nat, is blowing Cornet, yeah, I said Cornet. It sounds like Trumpet, but I guess there is a slight difference to a guy that blows Cornet. I don't think I would guess which was the Trumpet or Cornet if I were given a blindfold test. Could you?

Nat tells

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Cannonball Adderley

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Both as the leader of his own bands as well as an alto and soprano saxophone stylist, Julian Edwin "Cannonball" Adderley was one of the progenitors of the swinging, rhythmically robust style of music that became known as hard-bop.

Born September 15, 1928, into a musical family in Florida, Adderley was drafted into the U.S. Army in 1950. He became leader of the 36th Army Dance Band, led his own band while studying music at the U.S. Naval Academy and then led an army band while stationed at Fort Knox, Kentucky. Originally nicknamed "Cannibal" in high school for his voracious appetite, the nickname mutated into "Cannonball" and stuck.

In 1955, Adderley traveled to New York City with his younger brother and lifelong musical partner, Nat Jr. (cornet). The elder Adderley sat in on a club date with bassist Oscar Pettiford and created such a furvor that he was signed almost immediately to a recording contract and was often (if not entirely accurately) called "the new Bird."

Adderley's direct styl

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Cannonball Adderley discography

With Nat Adderley

With Miles Davis

With Ray Brown

With others

Kenny Clarke, Bohemia After Dark (Savoy, 1955)
Sarah Vaughan, In the Land of Hi-Fi (EmArcy, 1955)
Dinah Washington, In the Land of Hi-Fi (EmArcy, 1956)
Milt Jackson, Plenty, Plenty Soul (Atlantic, 1957)
Louis Smith, Here Comes Louis Smith (Blue Note, 1958) – credited as "Buckshot La Funke"
Gil Evans, New Bottle Old Wine (World Pacific, 1958)
John Benson Brooks, Alabama Concerto (Riverside, 1958)
Machito, Kenya (Roulette, 1958)
Paul Chambers, Go (Vee-Jay, 1959)
Philly Joe Jones, Drums Around the World (Riverside, 1959)
Jon Hendricks, A Good Git-Together (World Pacific, 1959)
Jimmy Heath, Really Big! (Riverside, 1960)
Sam Jones, The Chant (Riverside, 1961)
Eddie "Cleanhead" Vinson, Back Door Blues (Riverside, 1962)
Oscar Peterson, Bursting Out with the All-Star Big Band! (1962)
Joe Williams, Joe Williams Live (Fantasy, 1973)
Gene Ammons, Gene Ammons and Friends at Montreux (Prestige, 1973)
David Axelrod, Heavy Axe (Fant