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Cannonball Adderly & Bill Evans

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, Rovi
full bio

Comments

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sterno79
I engineered many of Cannonball's albums including Phenix and, even though there are several pretenders to the throne, no one sounds like Cannon. I miss him and Nat and all the great times we had. Enjoy.
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nrivers16
Hee hee :-P
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Perfect combination, smoky and swingin'
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cliffjazz2
This is music!
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A sound so very cool....he's got change for an icecube....
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The architect of cool
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Cannonball's solo on this track is one of the all-time best by an altoist in the history of jazz. He is backed by sideman Bill Evans. Sideman Bill Evans?!? It doesn't get any better than this combo of those two jazz greats.
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Cannonball knocks me out
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alansafe5
Evans does this with Tony Bennett. Love this tune!
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Smooth jazz to the tenth
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What old Yanow fails to mention is that Adderly was widely considered the logical advancer of the alto from the Parkeresque concept of playing.That was a tough thing to do at a time when not just alto players, but all modern jazz instrumental i s t s , were heavily under Bird's influence. Most still are, and it's now been 57 years since Bird's death!
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These guys created modern jazz .
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Damn this is HOT stuff!
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El saxofón es uno de mis instruentos preferidos
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I lOVE THEN AND Now """
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debjf3701
it doesn't get any better
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Check Out Cannon Ball Reload, Excellent Work from Cannon Ball!
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Cannon ball digs the bouncy, bright notes in major keys. It's kind of an upbeat, Happy tone.

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