Julian ‘Cannonball’ Adderley

   One of greatest saxophonists in 50’s and 60’s, Julian ‘Cannonball’ Adderley (1928-1975) was in the very narrow group of artists creating modern jazz improvising methods, taking part in extraordinary ensembles and recordings inspiring other artists. Although he was one of most creative musicians, in opinions of many he remained in a second row of avant-garde – known and remembered mostly as a contributor and collaborator in genius of Miles Davis and John Coltrane. This unjust rating comes probably from the fact, the first period of ‘Cannonball’ musical development was in Florida, far from biggest centers and mainstream media. Julian and his brother Nat were living in Tallahassee, where they were playing with Ray Charles in early 40’s. Julian ‘Cannonball’ Adderley was very popular in Florida – not only by nickname, which originally was “cannibal” for his unbridled appetite – but this fame has no impact in New York.
   The time Julian ‘Cannonball’ Adderley came to Big Apple, ten years after the end of the war New York was the scene of dynamic cultural changes. Also in jazz, be-bop was evolved to cool and hard bop, and later into free jazz in different variants. While others were establishing new directions and styles, the same time many musicians were still developing traditional swinging style with subtle new harmonic and rhythmic improvements. And as these styles were continuation of be-bop, the stream was created mainly by musicians who were known for their earlier cooperation with Parker and Gillespie – with the stress on the word “known”. The musical scene was pretty crowded and that’s the only reason quintets led by Julian ‘Cannonball’ Adderley never achieved the success they deserved.

Julian ‘Cannonball’ Adderley

   In series of Everest Records Archive of Folk and Jazz Music, aiming to publish authentic performances from 78 r.p.m. discs, there was one compilation album of Julian ‘Cannonball’ Adderley. It’s generally poor edited, giving some misinforming notes about whole series, even artist’s name is misspelled in the title and on the ridge of the sleeve. In linear notes it has the correct form. The program of the album is compilation of two late 50’s recordings. Four pieces out of five came from 1959 album Cannonball Adderley Quintet in Chicago. Opening piece Wabash is taken from February 1959 session with John Coltrane, Wynton Kelly, Paul Chambers and Jimmy Cobb. Complete album was released by Mercury as Cannonball Adderley Quintet in Chicago. Next is perfectly different The Tune of the Hickory Stick – the last piece on Jump for Joy album released by EmArcy in 1958. Closing the A-side You’re a Weaver of Dreams and two pieces of B-side (Stars Fell on Alabama and The Sleeper) are taken again from album of Cannonball Adderley Quintet recordings of 1959.
   The one exceptional recording in this choice is The Tune of the Hickory Stick, recorded in August 1958 with Emmett Berry on trumpet, Bill Evans on piano, Milt Hinton on bass and Jimmy Cobb on drums. Ambitious arrangement for strings, guitar and jazz quintet by Bill Russo is a kind of link between cool jazz experiments and popular jazz traditions. While this composition is a kind of refreshing moment, other four pieces are classic presentations of hard bop style. Perfect solos by leader, John Coltrane, Wynton Kelly and Paul Chambers can be seen as a clear expression of modern jazz ideas. Two pieces are recorded in quartet with solo saxophone: in Stars Fell on Alabama Adderley and in You’re a Weaver of Dreams Coltrane only. Closing this record John Coltrane’s The Sleeper is a symbolic point of these two artists were together, later every one was continuing his own voyage. The music deserves five stars but considering poor level of edition the record is two and half star only. 

Miles Davis – Kind of Blue

★★★★★

Looking for the one record which is substantial to music history of last century, for the recording of best quality of music and perfect in performing, creative and enough modern to affect next generations but still clear and readable to almost every listener, the only choice should be Kind of Blue by Miles Davis. This album belongs to the group of rare events giving modern jazz the position of artistic music. And it is strained with creative intensity, exactly the same way the most important works in human history always been. No wonder this record occupies highest position in every ranking, receiving complete collection of stars and hundred percent grades in any serious critical set. With more than four million copies sold, what means quadruple platinum, this is best selling album in Miles Davis discography and in history of the jazz. Many listeners believe it was also the first jazz recording exceeding limitations of harmonic progressions and initiated era of modality opening the way to free jazz and avant-garde of the sixties and beyond. And in fact they are almost right, it was not very first modal jazz recording because it really opened a new chapter in history of jazz.

Recorded in New York 30th Street Studio during two sessions March 2, and April 22, 1959, and released August 17, the same year, Kind of Blue was based on best musicians marking new directions in modern music. Despite revolutionary content of this album, the group was continuation of experiences with sextet Miles Davis recorded many times during previous years. Basic lineup was the same as recorded one year earlier 1958 Miles album. Front line of the group formed by leader Miles Davis with two saxophonists Julian “Cannonball” Adderley and John Coltrane has its counterpoise in rhythm section of Paul Chambers on bass and Jimmy Cobb on drums and merging these positions piano played by Bill Evans. During April 2nd session the lineup of Davis’ sextet was playing with two changes. In Freddie Freeloader Bill Evans was replaced by pianist Wynton Kelly and Blue in Green was recorded by quintet without Adderley.

Miles Davis – Kind of Blue (1959)

This album was different from the very beginning. Many Davis’ albums are monumental in idea or in realization. The end of fifties and beginning of sixties was the time for great constructions he made with orchestral arrangements by Gil Evans. Many of groundbreaking records were billed as a culmination of many years’ developments. In Kind of Blue modest title shows prudence and distance to theoretical matters of new music. Just like he was not sure of the new artistic and theoretical ideas joining Slonimsky’s Thesaurus of Scales, Russell’s Lydian Chromatic Concept of Tonal Organization and new possibilities of modal improvisation opened in John Coltrane’s and Miles Davis’ recordings in late fifties.
Although Kind of Blue was not the first modal recording, this is premiere program entirely founded on the idea of creating improvisation on the scale basis and developing improvisation from the scale inner tensions. Such approach was not quite new. It was presented in many folk cultures, in blues and in early jazz but it was never so much complex or consequent. Modal jazz was also the best way of leaving major-minor harmonic systems. On Kind of Blue modal scales occurred in rich and varied contexts, some were consisted on cycle of two or more modes – So What was based on two modes, Flamenco Sketches on five scales; some are standard 12-bar blues played in expanded modes (Freddie Freeloader) or even in 6/8 time (All Blues). Every improvisation was built on its own logic. Julian Cannonball Adderley, John Coltrane and Miles Davis are improvising in wide opening space of new possibilities. And this was in fact the best feature of this record. Freedom musicians gain with this new idea was liberating and inspiring giving jazz whole spectrum of new energies.