Adderley is remembered for his 1966 single "Mercy Mercy Mercy", a crossover hit on the pop charts, and for his work with trumpeter Miles Davis, including on the epochal album Kind of Blue (1959). He was the brother of jazz cornetist Nat Adderley, a longtime member of his band.
The name 'Canonball' is supposed to have originated from his being nicknamed 'cannibal' in his youth, on account of his prodigious eating
Early life and career
Originally from Tampa, Florida, Adderley moved to New York in the mid-1950s. His nickname derived originally from "cannibal", a title imposed on him by high school colleagues as a tribute to his voracious appetite.
His educational career was long established prior to teaching applied instrumental music classes at Dillard High School in Fort Lauderdale, Florida. Cannonball moved to Tallahassee, Florida when his parents obtained teaching positions at Florida A&M University. Both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s. Cannonball was a local legend in Florida until he moved to New York City in 1955, where he lived in Corona, Queens.
It was in New York during this time that Adderley's prolific career began. Adderley visited the Cafe Bohemia, where Oscar Pettiford's group was playing that night. Adderley had brought his saxophone into the club with him, primarily because he feared that it would be stolen, and he was asked to sit in as the saxophone player was late. That performance established his reputation.
Prior to joining Miles Davis' band, Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1957. He was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group.
Adderley joined the Miles Davis Sextet in October 1957, three months prior to John Coltrane's return to the group. Adderley played on the seminal Davis records Milestones and Kind of Blue. This period also overlapped with pianist Bill Evans' time with the sextet, an association that led to recording Portrait of Cannonball and Know What I Mean?.
His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child's Introduction to Jazz, released on Riverside Records.
Band leader
The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet. Cannonball's first quintet was not very successful; however, after leaving Davis' group, he formed another, again with his brother, which enjoyed more success.
Later life
By the end of the 1960s, Adderley's playing began to reflect the influence of the electric jazz, avant-garde, and Davis' experiments on the album Bitches Brew. On his albums from this period, such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970), he began doubling on soprano saxophone, showing the influence of Coltrane and Wayne Shorter. 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 Jose Feliciano and David Carradine) in the episode "Battle Hymn" in the third season of the TV series Kung Fu.
Joe Zawinul's composition "Cannon Ball" (recorded on Weather Report's album Black Market) is a tribute to his former leader. Pepper Adams and George Mraz dedicated the composition "Julian" on the 1975 Pepper Adams album (also called "Julian") days after Cannonball's death.
Songs made famous by Adderley and his bands include "This Here" (written by Bobby Timmons), "The Jive Samba", "Work Song" (written by Nat Adderley), "Mercy, Mercy, Mercy" (written by Joe Zawinul) and "Walk Tall" (written by Zawinul, Marrow and Rein). A cover version of Pops Staples' "Why (Am I Treated So Bad)?" also entered the charts.
Adderley was initiated as an honorary member of Phi Mu Alpha Sinfonia fraternity (Gamma Theta chapter, University of North Texas, '60, & Xi Omega chapter, Frostburg State University, '70) and Alpha Phi Alpha (Beta Nu chapter, Florida A&M University).
Adderley died of a stroke in 1975. He was buried in the Southside Cemetery, Tallahassee, Florida. Later that year he was inducted into the Down Beat Jazz Hall of Fame.
Polka Dots and Moonbeams
Cannonball Adderley Lyrics
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I felt a bump and heard an "Oh, beg your pardon"
Suddenly I saw polka dots and moonbeams
All around a pug-nosed dream
The music started and was I the perplexed one
I held my breath and said "May I have the next one?"
In my frightened arms, polka dots and moonbeams
There were questions in the eyes of other dancers
As we floated over the floor
There were questions but my heart knew all the answers
And perhaps a few things more
Now in a cottage built of lilacs and laughter
I know the meaning of the words "Ever after"
And I'll always see polka dots and moonbeams
When I kiss the pug-nosed dream
The lyrics to Cannonball Adderley's song Polka Dots and Moonbeams tell a love story that begins at a country dance in a garden. The singer of the lyrics bumps into someone and says "Oh, beg your pardon" and suddenly sees "polka dots and moonbeams" all around a "pug-nosed dream." The music starts and the singer asks if they can dance with this dream, feeling frightened as they hold them, but also seeing the dots and beams sparkling around them. As they dance, the other dancers have questions in their eyes about the match, but the singer's heart knows all the answers and more. In the end, they end up in a cottage built of lilacs and laughter where they know the true meaning of "Ever after" and always see polka dots and moonbeams when they kiss the pug-nosed dream.
Line by Line Meaning
A country dance was being held in a garden
The singer was at a country dance that happened to be in a garden.
I felt a bump and heard an "Oh, beg your pardon"
The singer accidentally bumped into someone and heard the other person's apology.
Suddenly I saw polka dots and moonbeams
The singer experienced an overwhelming feeling of infatuation or love.
All around a pug-nosed dream
The artist's love interest is characterized by having a small, rounded nose.
The music started and was I the perplexed one
The artist was confused or uncertain when the music started.
I held my breath and said "May I have the next one?"
The singer nervously asked their love interest for the next dance.
In my frightened arms, polka dots and moonbeams
The singer held their love interest in their arms and felt overwhelmed with infatuation or love.
Sparkled on a pug-nosed dream
The artist's love interest continued to be characterized by their small, rounded nose.
There were questions in the eyes of other dancers
Other people at the dance were curious about the artist and their love interest.
As we floated over the floor
The artist and their love interest danced gracefully and effortlessly together.
There were questions but my heart knew all the answers
Although others may have been curious about the singer and their love interest, the singer's feelings were clear to them.
And perhaps a few things more
The artist may have felt more strongly than just infatuation or love for their partner.
Now in a cottage built of lilacs and laughter
The singer is now in a happy place in their life with their partner.
I know the meaning of the words "Ever after"
The singer feels certain that they will spend their lives with their partner and live happily ever after.
And I'll always see polka dots and moonbeams
The singer will forever associate their love interest with polka dots and moonbeams, representing their feelings of overwhelming infatuation or love.
When I kiss the pug-nosed dream
Each time the artist kisses their love interest with the small, rounded nose, they feel these intense emotions of love.
Lyrics © Sony/ATV Music Publishing LLC, Broma 16, Warner Chappell Music, Inc.
Written by: JAMES VAN HEUSEN, JIMMY VAN HEUSEN, JOHNNY BURKE
Lyrics Licensed & Provided by LyricFind