a b c d e f g h Yanow, Scott. "Cannonball Adderley – Music Biography, Credits and Discography". AllMusic . Retrieved July 8, 2012. Havers, Richard (March 9, 2021). " 'Somethin' Else': Cannonball Adderley And Miles Davis' Musical Discourse" . Retrieved July 14, 2021.

This contrast also build tremendous tension that is almost palpable, and it is to the credit of the rhythm section that the differing approaches of the two horns are resolved and supported so ably. DownBeat Hall of Fame". DownBeat. Archived from the original on January 27, 2017 . Retrieved February 19, 2021. The new quintet, which later became the Cannonball Adderley Sextet, and Cannonball's other combos and groups, included such noted musicians as saxophonists Charles Lloyd and Yusef Lateef, pianists Bobby Timmons, Barry Harris, Victor Feldman, Joe Zawinul, Hal Galper, Michael Wolff, and George Duke, bassists Ray Brown, Sam Jones, Walter Booker, and Victor Gaskin, and drummers Louis Hayes and Roy McCurdy. [ citation needed] Later life [ edit ] Nat and Cannonball Adderley in Amsterdam, 1961 Jazz has no place for stagnation. I know one thing for sure. You can’t repeat yourself night after night when you’re working with Miles Davis. Miles and Coltrane are creating all the time and the challenge is tremendous…Miles group is at is should be. It’s a laboratory. New and exciting music is played each night… I learn so much being around him.”

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Blue Note Records is a label of Manhattan Records, a Division of Capitol Records, Inc.; Manufactured for Manhattan Records and Capitol Industries/EMI, Inc., by EMI France. From the rather austere opening chords from pianist Hank Jones and the horns, to the melancholy statement of the theme by Miles to Adderley’s effervescent solo with his blues drenched alto sound. Miles follows on muted trumpet and his solo is a beauty. A model of restraint, his solo is economy in motion, throwing the alto solo into stark relief. This restraint and is then imposed on Hank Jones who also produces a solo that is devoid of any superfluous notes or gestures. His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child's Introduction to Jazz, released on Riverside Records. [6] In 1962, Cannonball married actress Olga James. [2] Band leader [ edit ] Milkowski, Bill (2012). "Junior Mance: Saved By A Cannonball". JazzTimes . Retrieved January 31, 2023.

By the end of the 1960s, Adderley's playing began to reflect the influence of electric jazz. In this period, he released albums such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970). 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. In 1975 he also appeared in an acting role alongside José Feliciano and David Carradine in the episode "Battle Hymn" in the third season of the TV series Kung Fu. [14] So here, Cannonball, on his own date, somehow got Miles Davis to serve as a sideman, which is extremely rare. He's assembled a quintet of marvelous musicians. Hank Jones, too, is a very underappreciated Hall of Fame pianist. And of course you've got the great Art Blakey on drums and the very solid Sam Jones on bass, and they play perfectly on this record. a b Cook, Richard; Brian Morton (2006) [1992]. "Julian 'Cannonball' Adderley". The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8thed.). New York: Penguin. pp. 9. ISBN 0-14-102327-9.

Credits

The album closes with a ballad in ‘ Dancing In The Dark‘ byHoward Dietz and Arthur Schwartz. Miles sits this one out, and Adderley treats us to a beautiful reading of the tune, and equally gorgeous solo to match.

Julian Edwin Adderley was born on September 15, 1928, in Tampa, Florida to high school guidance counselor and cornet player Julian Carlyle Adderley and elementary school teacher Jessie Johnson. [7] [8] Elementary school classmates called him "cannonball" (i.e., "cannibal") after his voracious appetite. [7] This is immediately followed by ‘ Love For Sale‘ (another Davis staple) taken a bright and breezy tempo with the trumpeter once again using the Harmon mute. Listen to Davis play the well-worn standard “Autumn Leaves” that opens the set. He treats the theme the way a painter would, outlining it faintly in some spots and splashing it with bright, audacious colors in others. He darts around, surfing the shadows, and somehow maintains vital connection with the steady cadences of the tune. Through the choices he makes about notes and accents and phrasing, he establishes the size of the canvas, the temperament of the tune. That’s not all: His clear lines create a common understanding that spreads across the bandstand, slyly shaping the entire performance. Adderley begins his solo from deep inside a noodlebowl of notes, and then changes course, carving out ideas that are much more disciplined. Adderley’s huge alto sound is normally full of moxie, exuberance and celebration; there’s some of that here, but along the way he also follows the hints that Davis left, sketching passages of profound wistfulness and longing.The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet. Cannonball's first quintet was not very successful; [13] however, after leaving Davis' group, he formed another group again with his brother. However, the title was incorrectly listed as ‘Alison’s Uncle’ as prior to the session Nat Adderley’s wife had given birth to a daughter named Alison, and thus Cannonball became Alison’s Uncle. Mercy, Mercy, Mercy – Cannonball Adderley – Song Info – AllMusic". AllMusic . Retrieved August 1, 2018.