Julian Edwin Adderley
Biography:
Julian Edwin &#;Cannonball&#; Adderley, a legendary alto saxophonist, was born in Tampa, FL on Sept. 15, The nickname “Cannonball” came to him early on in his childhood and referred to his portly stature. He will always be known for amusing and educational rapport with his audience, often-times explaining what he and his musicians were about to play.
His studied music in Tallahassee Fl () before taking a position as high school band director in Fort Lauderdale following in the footsteps of his father who was also an educator and trumpet player. He became a local legend with his high school band and as live performer in and around Florida prior to moving to New York City in where he initially planned to pursue graduate studies.
He made his mark quickly performing in and around NYYC with his style and stage persona as several critics christened him “the new Bird.” He applied his fame to his first quintet pulling his brother Nat Adderley in on cornet. Around the time John Coltrane left Miles Davis’s band to play with Thelonious Monk, Adderley stepped in. Playing on the seminal “Kind Of Blue” and “Milestones”, he left a deep impression on Davis
This interview was originally recorded and broadcast on KCFR in Denver, Colorado, January 31 and February 4,
Published on Coda Magazine , issue number ()
JACK WINTER: I understand that your nickname, Cannonball, is a corruption of "Cannibal"
CANNONBALL ADDERLEY: Igot a reputation for my trenchermanship early in life, and when I was going to school down in Tallahassee one of the guys in our group wanted to call me a cannibal; but he mispronounced it as "can-i-bol." So the other guys' in the band would call me Canibol more to tease him than to tease me. But of course other folks, not being in on the joke, distorted it and it became "Cannonball."
I got into jazz when I was a high school teacher in Fort Lauderdale. I had matriculated to New York University. I was in graduate school there in but I never did go to class. It happened through Oscar Pettiford: he's been gone for some time and a lot of people don't know anything about him,don't know what his contribution has been, but Oscar had a group playing in the Cafe Bohemia in the Village, not far from New York University. I went there to hear the group, because he had a classic group: Ke
PLAYBOY: Our purpose, gentlemen, in this first PLAYBOY Panel, is to discuss narcotics addiction and the jazz musician. We might put it another way: to what extent is addiction a special problem of the jazzman? How common is the use of narcotics among musicians, and to what degree is the public attitude a reflection of the facts? We aren't in search of dogmatic conclusions: rather, we'd like to stimulate thought, to ventilate the subject and let in the light of knowledge and experience - which you men have.
Stan Kenton, you have not only been in the very forefront of advanced big-band jazz since the early Forties, you've also been a long-time, articulate spokesman for jazzmen. Vhy don't you lead off? There are an estimated Sixty thousand drug addicts in this country: how common is narcotics addiction in the jazz field?
KENTON: It exists, of course, and it exists as a very real problem - exactly as it does among other occupational groups jazzmen tend to be mavericks; they are not only non-conformist, they refuse to pretend, to play it safe, to pose as if they are other than they are. And they are on display before the public at their times of greatest tension,
CONTENTS
Nearly 50 of Julian Cannonball Adderley's recorded solos fully transcribed exactly as he recorded them, including some articulations.
Songs include:
Ah-Leu-Cha . Blue Funk . Cannonball . Easy to Love You'd Be So Easy to Love . Fiddler on the Roof . Hi-Fly . I Remember You . Love for Sale . Milestones . Oleo . One for Daddy-O . People Will Say We're in Love . Porky . Sack of Woe . So What . Somethin Else . Spectacular . Straight No Chaser . This Here . Waltz for Debby . Work Song . You Got It . and many more.
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