Cannonball Adderley-As; Hank Jones-P; Sam Jones-B; Art Blakey-Dr

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JAMU 20141119-2 – Cannonball Adderley 1 Somethin’ Else (Miles Davis) 8:11 Miles Davis-tp; Cannonball Adderley-as; Hank Jones-p; Sam Jones-b; Art Blakey-dr. SOMETHIN’ ELSE – Cannonball Adderley Van Gelder Studio, Hackensack, NJ, March 9, 1958. Blue Note 81595 / CD 95329 2. Things Are Getting Better (Julian Adderley / Dory Langdon) 7:11 Cannonball Adderley-as; Milt Jackson-vib; Wynton Kelly-p; Percy Heath-b; Art Blakey-dr. THINGS ARE GETTING BETTER – C. Adderley with Milt Jackson New York City, October 28, 1958. Riverside 1128 / CD OJC 1001-2. Limehouse Blues (Porter Braham) 4:37 Cannonball Adderley-as; John Coltrane-ts; Wynton Kelly-p; Paul Chambers-b; Jimmy Cobb-dr. CANNONBALL ADDERLEY QUINTET IN CHICAGO Chicago, February 1959. Mercury SR 60134 / CD Verve 559 770-2. …….. Cannonball Adderley-as; Wynton Kelly-p; Paul Chambers/Percy Heath-b; Jimmy Cobb/ Albert „Tootie“ Heath-dr. CANNONBALL TAKES CHARGE New York City, April 23 & 27 and May 12, 1959. Riverside 1148 / Capitol 34071 2. You Got It! (Julian Adderley) 5:05 Nat Adderley-co; Cannonball Adderley-as; Bobby Timmons-p; Sam Jones-b; Louis Hayes-dr. CANNONBALL ADDERLEY QUINTET IN SAN FRANCISCO Live at The Jazz Workshop, San Francisco, October 18/20, 1959. Riverside 1157 / OJC 20 035. Au Privave (Charlie Parker) 3:52 Yours Is My Heart Alone (Franz Lehár) 5:58 Cannonball Adderley-as; Wes Montgomery-g; Ray Brown-b; Victor Feldman-p; Louis Hayes-dr. CANNONBALL ADDERLEY AND THE POLL-WINNERS Los Angeles, June 5, 1960. Riverside 9355 / Capitol 20086 2. Azule serape (Victor Feldman) 9:27 Nat Adderley-co; Cannonball Adderley-as; Victor Feldman-p; Sam Jones-b; Louis Hayes-dr. CANNONBALL ADDERLEY QUINTET AT THE LIGHTHOUSE Live at The Lighthouse, Hermosa Beach, October 16, 1960. Riverside 9344 / Capitol 31572 Waltz for Debby (Bill Evans) 5:07 Cannonball Adderley-as; Bill Evans-p; Percy Heath-b; Connie Kay-dr. KNOW WHAT I MEAN? – Cannonball Adderley with Bill Evans New York, January 27, February 21 and March 13, 1961. Riverside 9433 / OJC 20 105-2. .

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“Cannonball” Adderley
Journal of Jazz Studies vol. 9, no. 1, pp. 101-106 (Summer 2013) Portrait of Cannonball: Cary Ginell's Walk Tall Dustin Mallory Walk Tall: The Music and Life of Julian “Cannonball” Adderley. By Cary Ginell. Milwaukee: Hal Leonard Books, 2013. 190 pp. $18.99. Very few jazz musicians can say that their band had a Top 20 single and a Top 20 album. Within that elite group of artists, only two men can state in the same breath that they also performed on jazz’s best-selling album of all time, Kind of Blue. One is Miles Davis and the other is Julian “Cannonball” Adderley. Cannonball’s success in album sales is just one measure of his achievements, albeit a tangible one. However, a casual stroll through the practice rooms of any jazz school in the country or jazz club in a city will aurally reveal the sheer volume of musicians that practice, perform, and revere the vocabulary that poured from Cannonball’s saxophone. Yet, despite the respect that Cannonball has been accorded over the years, both measureable and immeasurable, there is relatively little in the way of published biographical information. With the exception of the occasional feature in a periodical, an entry in The Encyclopedia of Jazz, a handful of scholarly works, and a few publications geared toward theory or discography,1 Mr. Adderley’s biography has gone largely unwritten. Furthermore, it can be said definitively that there is nothing in the marketplace that even closely resembles a comprehensive biography. Cary Ginell’s Walk Tall is one of the first publications that sets theory, analysis, and discography on the back burner in favor of history/biography.
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1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement.
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Cannonball Adderley Them Dirty Blues Mp3, Flac, Wma
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Title Format Released & His Orchestra South Pacific 12" 1958 Abdo
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BARNEY KESSEL by to Swing Or Not to Swing CONTEMPORARY C3521 Barnev Kessel Vol
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Riverside Label Discography
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Előadó Album Címe Hanghordozó Kiadó Release Oszlop1 Oszlop2
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The Jazz Singer - - — 6
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Downbeat's July
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