Julian Edwin "Cannonball" Adderley (September 15, 1928 – August 8, 1975) wa… Read Full Bio ↴Julian Edwin "Cannonball" Adderley (September 15, 1928 – August 8, 1975) was a jazz alto saxophonist of the hard bop era of the 1950s and 1960s.
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.
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.
This Here
Cannonball Adderley Lyrics
We have lyrics for these tracks by Cannonball Adderley:
02- love for sale Love for sale Appetizing young love for sale Love that's fre…
A Foggy Day I was a stranger in the city Out of town were…
Airegin Wait'll y'dig it on the map - airegin Spelled backwards Re…
Autumn Leaves The falling leaves drift by the window The autumn leaves of…
Between the Devil and the Deep Blue Sea I don't want you, but I'd hate to lose you You've…
Black Orpheus Caminar sin ella, Es ir sin rumbo fijo Refugiarse como…
Bli Blip While other lovers sing your praisesin phases deftly lyrical…
Bohemia After Dark I'm looking at the sky, I'm trying Not to cry, coz'…
Come Sunday Ooh Lord, dear Lord above, God almighty, God of love, pleas…
Desafinado Se você disser que eu desafino, amor Saiba que isso…
Easy to Love I know too well that I'm just wasting precious time In…
Falling In Love With Love I weave with brightly colored strings To keep my mind off…
Foggy Day I was a stranger in the city Out of town were…
Goodbye I remember holdin' on to you All them long and lonely…
I Concentrate On You Whenever skies look gray to me And trouble begins to brew, …
I Cover The Waterfront I cover the waterfront, I'm watching the sea,, Will the one …
I Got It Bad Though folks with good intentions Tell me to save my tears W…
I Got Rythm Though folks with good intentions Tell me to save my tears …
I Guess I'll Hang My Tears Out to Dry The torch I carry is handsome It′s worth its heartache in…
I Need You I'll be glad when you're dead, you rascal, you I'll be…
I Remember You This lovely day will lengthen into evening We'll sigh goodby…
I Waited for You I remember other days how I used to weep Over…
I Worship You I'll be glad when you're dead, you rascal, you I'll be…
I'll Never Stop Lovin' You I'll never stop loving you Whatever else I may do My love…
I'll Remember April This lovely day will lengthen into evening We'll sigh goodby…
If I Love Again I often wonder why he came to me Brought such a…
If This Isn If they made me a king I'd be but a…
Ill Never Stop Loving You I'll never stop loving you Whatever else I may do My love…
Jump For Joy Fare thee well, land of cotton Cotton lisle is out of…
Just Friends Just friends, lovers no more Just friends, but not like befo…
Just Squeeze Me Want you to know I go for your squeezin' Want you…
Limehouse Blues And those weird China blues Never go away Sad, mad blues For…
Love for Sale Wish I knew Why I'm so in love with you No one…
Masquerade Is Over My blue horizon is turning grey And my dreams are drifting…
Mercy, Mercy, Mercy Have mercy, have mercy, baby have mercy, have mercy on me we…
My Foolish Heart The night is like a lovely tune Beware my foolish heart How…
Nardis scatting…
Never Will I Marry Never, never will I marry Never, never will I wed Born to…
No Greater Love There is no greater love Than what I feel for you No…
Nothin when it adds up to nothin' It makes you wonder…
One for Newk I remember other days how I used to weep Over…
People Will Say We're Why do they think up stories that link my name…
Polka Dots and Moonbeams A country dance was being held in a garden I felt…
Rose Room I want to take you to a little room A little…
Sam I often wonder why he came to me Brought such a…
Somethin Uh-look-ah there There she comes Here comes that girl again …
Something Different You loved me, when I was so unlovely You sought me,…
Song Is You I hear music when I look at you, A beautiful theme…
Spring Is Here Spring is here! Why doesn't my heart go dancing? Spring is…
St. Louis Blues I hate to see that evening sun go down I hate…
Star Eyes Star eyes, That to me is what your eyes are, Soft as…
Stardust And now the purple dusk of twilight time Steals across the…
Stars Fell on Alabama Moonlight and magnolia, starlight in your hair All the world…
Street Of Dreams Midnight, you heavy laden, it's midnight Come on and trade i…
The Fat Man They call, they call me the fat man 'Cause I weight…
the Masquerade Is Over My blue horizon is turning grey And my dreams are drifting…
The Nearness Of You Its not the pale moon that excites me That thrills and…
The Song Is You I hear music when I look at you, A beautiful theme…
There Is No Greater Love There is no greater love Than what I feel for you No…
To Life 187, gang related, I'm accused And after every court…
What Is This Thing Called Love I was a hum-drum person Leading a life apart When love flew…
What's New What's new? How is the world treating you? You haven't cha…
Who Cares Who cares if the sky cares To fall in the sea? Who…
You I hear music when I look at you, A beautiful theme…
You Are Too Beautiful You are too beautiful, my dear, to be true And I…
You Got It! Though folks with good intentions Tell me to save my tears W…
You'd Be so Nice to Come Home To You'd be so nice to come home to You'd be so…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Ralph J. Gleason's liner notes for 'The Cannonball Adderley Quintet in San Franciso Featuring Nat Adderley' (Excerpt).
When the Cannonball Adderley Quintet finished Hi-Fly - its closing number after a four week engagement at the Jazz Workshop in San Franciso in October of 1959 - the audience stood and cheered and whistled and clapped for fifteen minutes.
In a dozen years of covering jazz events in San Francisco, I have never seen anything like this happen. Believe me, it was impressive. The audience absolutely loved the band and the feeling of love spread throughout the club night after night, set after set.
It may strike you that the word "love" is a little over-sentimental in such a context. But it was true. There is in the current Cannonball Adderley group a great sweeping feeling of warmth that is the characteristic of jazz which, all attempts to intellectualize it to the contrary notwithstanding, marks it as a reflection of the best of American culture.
When Dimitri Shostakovich, the Russian composer, went to hear his first authentic American jazz, he went to the Jazz Workshop and sat for an hour attentively listening to Cannonball's group. He made no comment whatsoever, which is in itself a comment of sorts. But he dug. He smiled appreciatively several times, applauded vigorously on occasion, and leaned forward intently to watch a Louis Hayes drum solo.
The Russians were the only people in four weeks who did not move a muscle in time to the band.
- Ralph J. Gleason.
Excerpt from Ralph J. Gleason's liner notes for 'The Cannonball Adderley Quintet in San Franciso Featuring Nat Adderley' Riverside Records, 1959.
Ralph J. Gleason was the editor of the magazine JAZZ, and a widely syndicated columnist for the San Franciso Chronicle.
Jim Grodnik
I was in the Jazz Workshop in San Francisco in fall of 1959 when this was recorded. The atmosphere was electric. Lines out the door every night.
Norma Harrod
Was it a big place? What were you doing there?!
Veejay Mexico
I was there on that memorable evening in North Beach as well...what a small world!! In those wonderful days I lived just three blocks off Broadway and the Jazz Workshop....Great memories Brother!
Veejay Mexico
@Norma Harrod Jazz Workshop was a rather small intimate Club with tiny tables and customers shoehorned tightly and cozy-like. Acoustically, it was masterful in every way! Jazz Giants were on the menu every night.
Debashish Chakravarty
you witnessed jazz history. i was lucky enough to find a VG vinyl copy :)
Sandra Cid
This is an extraordinary piece of art, of good jazz, very good jazz.
It is also quite original. Even when the metal sounds are main actors, Timmons piano is so discret, and so indispensable. Bravo!!!!!!!
Helcio Baurich
Indispensable as Sam Jones, the bass line leads this beatiful waltz!
Sandra Cid
Let's follow the music, eyes closed, body and brain alert!
D. C.
It is funny to hear Louis Hayes thinking it's over at 10:54. Very good piece of music from Bobby Timmons and excellent performance by the Adderley Quintet. That's the real hard bop shit!
James C. Lockwood
I don't think that Hayes thought the song was over. The crash was to bring them back to the theme. ABA structure of hard bop