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Saturday, March 23, 2013



I am in the process of moving my work on this platform to a new home that unites all of my jazz research under one roof. Thank you for looking at my work here at google blogger. I think you will find the new home more user friendly with links and tags to all of my research. This link will take you to this research at the new site where I have updated the links to Jazz Scene USA segments on YouTube.



Commentary © James A. Harrod, Copyright Protected; All Rights Reserved

"Cannonball" Adderley had appeared on television in Los Angeles in December of 1956 when his quintet was featured on the Stars of Jazz series while the quintet was booked at Jazz City.  Prior to his taping for Steve Allen’s Jazz Scene USA series in 1962 Adderley’s quintet had appeared on Ralph Gleason’s Jazz Casual series in San Francisco in 1961.  The members of that quintet: Nat Adderley, cornet; Cannonball Adderley, alto sax; Joe Zawinul, piano; Sam Jones, acoustic double bass; Louis Hayes, drums; were expanded by the addition of Yusef Lateef on tenor to form the sextet performing on Jazz Scene USA.

The following biography is taken from the Cannonball Adderley web site:

Julian Edwin "Cannonball" Adderley 

TAMPA, Florida,09/15/1928//GARY, Indiana 08/08/1975

After his music studies in Tallahassee (1944/48) he became a high school band director at the Dillard High School/Fort Lauderdale (1948/50) in his native Florida, following in the footsteps of his educator-father (a trumpet player), before moving to New York in 1955. He initially planned to pursue graduate studies in Manhattan; but after sitting in with Oscar Pettiford's band at the Cafe Bohemia, the alto saxophonist became an instant sensation, hailed by many as the musician most likely to inherit the mantle of the late Charlie Parker. Despite misguided promotional efforts to christen him as "the new Bird," Adderley clearly had his own approach to the horn, which drew on the inspiration of Benny Carter as well as Parker. He took advantage of his early notoriety, however, by forming his first quintet, which featured his younger brother Nat Adderley on cornet. While the group struggled economically, Cannonball did draw the attention of Miles Davis,who featured the alto saxophonist in the immortal Miles Davis sextet (alongside John Coltrane and either Red Garland, Bill Evans,or Wynton Kelly) for two years beginning in late 1957.

In September 1959, Cannonball left Davis and reunited with Nat in a new Cannonball Adderley quintet. Recorded live one month later at San Francisco's Jazz Workshop, the band became an immediate success with their version of Bobby Timmons's sanctified waltz "This Here" and a leading practitioner of what came to be called soul jazz. Numerous other hits followed over the next 16 years as the band occasionally swelled to sextet size (with the inclusion of Yusef Lateef or Charles Lloyd) and featured such important pianist/composers as Barry Harris, Victor Feldman, Joe Zawinul,George Duke, and Hal Galper. Sam Jones and Louis Hayes formed the original rhythm section, to be succeeded later by Victor Gaskin,Walter Booker, and Roy McCurdy. At the heart of the group's success throughout its existence were Cannonball, one of the most impassioned alto (and, later, soprano) saxophonists in jazz history, and Nat, whose infectious compositions (including "Work Song" and "Jivesamba") formed a critical part of the band's book.

While a knack for interpreting funky crossover material such as Zawinul's "Mercy, Mercy, Mercy" won the Adderley quintet one of the jazz world's largest audiences, Cannonball's personality also played a pivotal role in sustaining the band's prominence among fans worldwide. He was the most articulate and engaging of musicians, and he invariably educated his listeners with wry commentary that illuminated the music. He was also a voracious listener and talent scout who introduced several prominent musicians through both employing them in his ensemble and serving as a studio record producer. Cannonball was the one who called Wes Montgomery to the attention of Riverside Records, produced the debut recording of Chuck Mangione, and collaborated so brilliantly with a young Nancy Wilson. The open, affirmative personality he displayed on stage was reflected in his music, which over time was touched by the subtle eloquence of his former boss Miles Davis and the exploratory intensity of his Davis colleague John Coltrane.

Adderley also served as a prominent spokesperson for jazz through extensive television work and residencies at several universities.Shortly before his death following a stroke, he had recorded his original music for "Big Man," a "folk musical" based upon the life of John Henry. 


Cannonball Adderley’s appearance on Jazz Scene USA is available on VHS and DVD, coupled with the Teddy Edwards appearance, both available from online sellers.

The following segments on Daily Motion and YouTube are from the Jazz Scene USA program:

Cannonball - Primitive by dow30


Production credits: Host: Oscar Brown, Jr. 
Executive Producer: Steve Allen 
Producer: Jimmie Baker 
Director: Steve Binder 
Associate Producer: Penny Stewart 
Associate Director: George Turpin 
Technical Director: Dick Hall 
Lighting Director: Leard Davis 
Audio: Larry Eaton 
Art Director: Robert Tyler Lee 
Jazz Consultant: John Tynan 
Title Films: Grant Velie 
Cameras: Bob Dunn, Ed Chaney, Gorman Erickson, Pat Kenny