Jazz musician Julian Edwin Adderley was usually known as '........... (what) Adderley'?
"Cannonball's death 'Lovers' (which had been planned for the album) was recorded as a memorial... The intentions were honorable but the music is pretty forgettable."" Lovers (Cannonball Adderley album) Lovers is an album by jazz saxophonist Cannonball Adderley recorded at the Fantasy Studios in Berkeley, California in 1975, featuring the last recorded performances by Adderley with Nat Adderley, Alvin Batiste, George Duke, Alphonso Johnson, Jack DeJohnette, Airto Moreira with a posthumous track featuring Flora Purim, Nat Adderley, Jr. and Ron Carter. The Allmusic review by Scott Yanow awarded the album 1½ stars and states: ""This particular LP was already more"
"spend much of his musical career. He attended Yale University, graduating with a degree in African American studies. While living in Houston, Texas, he was the music arranger for the 1981 album ""Never Too Much"" which became Vandross's first hit with the title track, which reached number 33 on the ""Billboard"" Hot 100 and fourth on the dance charts. He continued working with Vandross, whom he called ""a hilarious guy, a great employer, a great friend, and an incredible musician"", until the singer's stroke in February 2003 that effectively ended his career. Adderley has returned to his jazz roots, performing"
"in 1993 and then toured Europe in 1994. Adderley spent half the year touring and the other half at home in Lakeland, Florida, writing and recording. He thought many of his greatest fans were in Japan, but Europeans were also enthusiastic about the music. In 1997, he joined the faculty of Florida Southern College as an artist-in-residence. He also helped in the founding and development of the annual Child of the Sun Jazz Festival held annually at the university which he headlined for over a decade. During the same year, he was inducted into the Jazz Hall of Fame in"
"a saxophone case with him and told Rouse to ask this unknown man if he could borrow his horn. Instead, Rouse asked Cannonball if he would like to sit in with the group. Reluctantly, the leader complied and allowed Adderley to play. Overnight Adderley rose to prominence on the New York jazz scene. On 21 June he officially played his first night at the Bohemia; on June 28, 1955 he recorded with Kenny Clarke's group; on 14 July he recorded his first album as a leader. By October 1957 he was a member of the Miles Davis Sextet. Phil Schaap"
"a routine club gig"". In ""Jazz Review"", Lee Prosser stated """"Julian"" is an example of mainstream jazz at its timeless best, helmed by a neglected master of one of The Big Horns"". All compositions by Pepper Adams except where noted. Julian (album) Julian, is a live album by baritone saxophonist Pepper Adams which was recorded in Munich in 1975 and originally released on the Enja label. The Allmusic review by Scott Yanow states ""Recorded five days before Julian ""Cannonball"" Adderley's death, the title cut of this album was retitled and dedicated to the late altoist. The powerful baritonist Pepper Adams"
"Jon Eardley Jon Eardley (September 30, 1928 – April 1, 1991) was an American jazz trumpeter, who while not particularly well known in his native country became a highly respected musician in Europe. Born in Altoona, Pennsylvania, Eardley first started on trumpet at the age of 11; his father played in Paul Whiteman's orchestra. From 1946 to 1949 Eardley played in an Air Force band in Washington, D.C., then led with his own quartet in D.C. from 1950 to 1953. He moved to New York City in 1953, playing with Phil Woods (1954), Gerry Mulligan (1954–57), and Hal McIntyre (1956)."
"Adderley. After one of his musicians had tricked him into letting Adderley, an unknown music teacher, onto the stand, he had Adderley solo on a demanding piece, on which Adderley performed impressively. Pettiford is considered the pioneer of the cello as a solo instrument in jazz music. He first played the cello as a practical joke on his band leader (Woody Herman) when he walked off stage during his solo spot and came back, unexpectedly with a cello and played on that. In 1949, after suffering a broken arm, Pettiford found it impossible to play his bass, so he experimented"
"narratives"". Love, Sex, and the Zodiac Love, Sex, and the Zodiac is an album by jazz saxophonist Cannonball Adderley recorded in Berkeley, California in 1970, but not released on the Fantasy label until 1974, featuring performances by Adderley's Quintet featuring Nat Adderley, Hal Galper, Walter Booker and Roy McCurdy with guest appearances by George Duke and Jimmy Jones and narration by Rick Holmes. The Allmusic review awarded the album 1 star, stating that ""The end result is too frivolous to find favor with those who take astrology seriously, yet too serious-minded to be nearly as funny as intentional parodies of"
"and soul-jazz was one that very much stayed up with the times"". Sayin' Somethin' Sayin' Somethin' is an album by jazz cornetist Nat Adderley released on the Atlantic label featuring four performances by Adderley with an 11-piece orchestra and four by Adderley's Quintet with Joe Henderson, Herbie Hancock, Bob Cranshaw, and Roy McCurdy. The Allmusic review by Scott Yanow states ""Cornetist Nat Adderley was at the peak of his powers in the mid-1960's... making this set one to search for"". The Penguin Guide to Jazz awarded the album 3 stars stating ""Hearing Nat in the presence of both Joe Henderson"
"Love, Sex, and the Zodiac Love, Sex, and the Zodiac is an album by jazz saxophonist Cannonball Adderley recorded in Berkeley, California in 1970, but not released on the Fantasy label until 1974, featuring performances by Adderley's Quintet featuring Nat Adderley, Hal Galper, Walter Booker and Roy McCurdy with guest appearances by George Duke and Jimmy Jones and narration by Rick Holmes. The Allmusic review awarded the album 1 star, stating that ""The end result is too frivolous to find favor with those who take astrology seriously, yet too serious-minded to be nearly as funny as intentional parodies of self-helpish"
"""Utt De Zay (The Tailor's Song)"" based on a real Yiddish song of the same name. Cannonball Adderley, was an American Jazz Saxophonist, who played legends like Miles Davis. In 1964, he released ""Cannonball Adderley's Fiddler on the Roof,"" a saxophone version of the famous Fiddler on the Roof musical soundtrack. The broadway play was a resounding success, and Cannonball Adderley's rendition helped further connect the Black and Jewish music experience. Although it is a Jazz rendition, Addereley still maintains the Klezmer style on the song ""Tradition,"" in order to respect the Jewish heritage of the song. The Temptations also"
"Mercy, Mercy, Mercy! Live at ""The Club"" Mercy, Mercy, Mercy! Live at ""The Club"" is a 1966 album by jazz musician Julian ""Cannonball"" Adderley. It received the Grammy Award for Best Instrumental Jazz Performance – Group or Soloist with Group in 1967. Though the original liner notes state that it was recorded at the Club DeLisa in Chicago, it was actually recorded at Capitol's Hollywood studio with an invited audience and an open bar. The reason for this discrepancy, according to the liner notes in the CD reissue, is that Adderley and the new manager of Club DeLisa (which had"
"""jazz,"" opting instead for ""this music referred to as jazz,"" or simply, ""the positive music."" Ridley received more than 80 awards, including recognition from the Philadelphia City Hall and the Pennsylvania House of Representatives, and an honorary Doctorate in Music from Villanova University (given in May 2008). He also worked as a consultant for the Library of Congress. Dubbed a ""walking encyclopedia of jazz,"" Ridley was in great demand on radio and television shows. He was also an archivist for the Philadelphia Clef Club of Jazz and Performing Arts. Ridley died on February 19, 2009, some weeks after a stroke."
"Julian (album) Julian, is a live album by baritone saxophonist Pepper Adams which was recorded in Munich in 1975 and originally released on the Enja label. The Allmusic review by Scott Yanow states ""Recorded five days before Julian ""Cannonball"" Adderley's death, the title cut of this album was retitled and dedicated to the late altoist. The powerful baritonist Pepper Adams is well showcased ... in typically excellent form, playing intense solos that push but stay within the boundaries of hard bop"". In ""JazzTimes"", Miles Jordan wrote ""The caliber of musicianship and the intricately worked-out tunes raise this performance far above"
"heavy blues feel, catchy riffs, and a presence of the church. The point of soul jazz was to bring back a simpler type of jazz that had direct influence from blues and church music. However, this is not the only style that Adderley wrote and played. The quintet was also widely known for their hard bop, which comprised roughly half of their recorded work. This is a rougher, edgier style descended from bebop, and virtuosic abilities are required to be able to play it. As a soloist and composer, Adderley had a wide range of abilities. He could improvise simpler,"
"legend in Southeast Florida until he moved to New York City in 1955. One of his known addresses in New York was in the neighborhood of Corona, Queens. He left Florida originally to seek graduate studies at New York conservatories, but one night in 1955 he brought his saxophone with him to the Café Bohemia. Asked to sit in with Oscar Pettiford in place of his band's regular saxophonist, who was late for the gig, the ""buzz"" on the New York jazz scene after Adderley's performance announced him as the heir to the mantle of Charlie Parker. Adderley formed his"
"Kansas City. He lived on 112th Street in Harlem in the 1960s and in Teaneck, New Jersey, in the 1970s, before moving to Lakeland. He also lived near his brother in Corona, Queens. Nat Adderley died as a result of complications from diabetes at the age of 68 in Lakeland, Florida. He was interred near his brother in the Southside Cemetery in Tallahassee, Florida. He was an innovator in the popularization of soul jazz and was one of the most prolific jazz artists of his time, recording nearly 100 albums. He proved that cornet could be a modern jazz instrument."
"often considered the greatest jazz album of all-time. Adderley left the band in September 1959 to pursue his own career, returning the line-up to a quintet. In July 1958, Evans appeared as a sideman in Adderley's album ""Portrait of Cannonball"", that featured the first performance of ""Nardis"", specially written by Davis for the session. While Davis was not very satisfied with the performance, he said that from then on, Evans was the only one to play it in the way he wanted. The piece would come to be associated with Evans's future trios, which played it frequently. The use of"
"her death in 1983. Bradley was known for loving all kinds of music, but he was especially a jazz music enthusiast. He hosted the Peabody Award–winning ""Jazz at Lincoln Center"" on National Public Radio for over a decade until just before his death. A big fan of the Neville Brothers, Bradley performed on stage with the bunch, and was known as ""the fifth Neville brother"". Bradley was also friends with Jimmy Buffett, and would often perform onstage with him, under the name ""Teddy"". Bradley had limited musical ability and did not have an extensive repertoire, but would usually draw smiles"
"his younger years, and he passed down his trumpet to Cannonball. When Cannonball picked up the alto saxophone, he passed the trumpet to Nat, who began playing in 1946. He and Cannonball played with Ray Charles in the early 1940s in Tallahassee and in amateur gigs around the area. Adderley attended Florida University, majoring in sociology with a minor in music. He switched to cornet in 1950. From 1951–1953 he served in the army and played in the army band under his brother, taking at least one tour of Korea before returning to a station in the United States. After"
"Julian ""Cannonball"" Adderley except where noted That's Nat That's Nat is an album by jazz cornetist Nat Adderley first released on the Savoy label featuring performances by Adderley with Jerome Richardson, Hank Jones, Wendell Marshall, and Kenny Clarke. ""The Penguin Guide to Jazz"" states ""Jones comping is inch-perfect throughout and Clarke is right on the case, often following Adderley outside the basic count for a phrase or two"". The Allmusic review stated ""His pithy, pungent trumpet and cornet work is effective in a hard bop context, although his own work outside his brother's group has never seemed quite as effective""."
"jazz as an outgrowth of hard bop, with the terms ""funk"" and ""soul"" appearing in a jazz context as early as the mid-1950s to describe ""gospel-informed, down-home, call-and-response blues."" Carr also notes the acknowledged influence of Ray Charles' small group recordings (which included saxophonists David ""Fathead"" Newman and Hank Crawford) with Horace Silver, Art Blakey, Cannonball Adderley and Milt Jackson. Soul jazz developed in the late 1950s, reaching public awareness with the release of ""The Cannonball Adderley Quintet in San Francisco"". Cannonball Adderley noted: ""We were pressured quite heavily by Riverside Records when they discovered there was a word called"
"Cannonball's Bossa Nova Cannonball's Bossa Nova is a 1962 album by jazz musician Julian ""Cannonball"" Adderley. First released on Riverside in 1963, the album was reissued on Capitol Records several times with different covers and titles. The Allmusic review by Al Campbell awarded the album 2 stars and states: ""Unfortunately this release contains little fire, as Adderley didn't get much rehearsal time with these musicians. Combined with the repetitious nature of the Bossa Nova these proceedings can get tedious."" ""The Penguin Guide to Jazz"" awarded the album 3 stars, stating: """"Cannonball's Bossa Nova"" finds Adderley on a Brazilian vacation, with"
"on the radio. His mother called him Zep and he became known as Jo Zep. Camilleri began his music career in 1964 when literally thrown onstage to sing with The Drollies. He played blues and R&B in the mid-1960s with The King Bees, and was then a member of Adderley Smith Blues Band. In 1968, lead singer for the band, Broderick Smith had been conscripted for National Service during the Vietnam War. Camilleri lasted a year with Adderley Smith, and enjoyed working with the band including guitarist Kerryn Tolhurst (later in The Dingoes with Smith). According to Australian music journalist"
"couple had one daughter. In 2003 he married Vivian Wilson. He died in Milford, Derbyshire. Selected choral compositions include: Neil Ardley Neil Richard Ardley (26 May 1937–23 February 2004) was a prominent English jazz pianist and composer, who also made his name as the author of more than 100 popular books on science and technology, and on music. Neil Ardley was born in Wallington, Surrey. He attended Wallington County Grammar School and at the age of thirteen started to learn the piano and later the saxophone. He read Chemistry at Bristol University, where he also played both piano and saxophone"
"""Hipadelphia"". The Allmusic review by Steve Huey awarded the album 5 stars and states: ""Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well -- or with such tremendous musical rewards -- as ""Mercy, Mercy, Mercy""."" ""The Penguin Guide to Jazz"" awarded the album 3 out of 4 stars, stating: """"Mercy, Mercy, Mercy"" is a hard swinging live album with one of Cannon's hottest outings on 'Sticks'."". Mercy, Mercy, Mercy! Live at ""The Club"" Mercy, Mercy, Mercy! Live at ""The Club"" is a 1966 album by jazz musician Julian ""Cannonball"" Adderley. It"
"African Waltz African Waltz is an album by jazz saxophonist Cannonball Adderley, released on the Riverside label and performed by Adderley with an orchestra conducted by Ernie Wilkins. The title track had been a UK hit single for Johnny Dankworth. The Allmusic review by Scott Yanow awarded the album three stars and states: ""The music on this CD reissue is better than it should be. Cannonball Adderley had a fluke hit with ""African Waltz"" so a full album was recorded with the hope of coming up with additional hits... There is some strong material on the set (including ""West Coast"
"In the Bag (album) In the Bag (also released as The Adderley Brothers in New Orleans) is an album by jazz cornetist Nat Adderley released on the Jazzland label featuring performances by Adderley with his brother Cannonball Adderley, Sam Jones, Nat Perrilliat, James Black, and Ellis Marsalis. The Allmusic review by Scott Yanow awarded the album 2 stars stating ""The repertoire they perform is quite fresh but there is less excitement than one might hope and the musicians do not really form a unified group sound despite some strong individual moments"". The Penguin Guide to Jazz awarded the album 3"
"Sayin' Somethin' Sayin' Somethin' is an album by jazz cornetist Nat Adderley released on the Atlantic label featuring four performances by Adderley with an 11-piece orchestra and four by Adderley's Quintet with Joe Henderson, Herbie Hancock, Bob Cranshaw, and Roy McCurdy. The Allmusic review by Scott Yanow states ""Cornetist Nat Adderley was at the peak of his powers in the mid-1960's... making this set one to search for"". The Penguin Guide to Jazz awarded the album 3 stars stating ""Hearing Nat in the presence of both Joe Henderson and Herbie Hancock provides ample reminder that his approach to hard bop"
"performances. Julian ""Cannonball"" Adderley's fantastic live document In Japan is no exception. Recorded in August 1966 in Tokyo, In Japan features the alto saxophonist at the peak of his career. Backed by his best band -- cornet player Nat Adderley, electric pianist Joe Zawinul, bassist Victor Gaskin, and drummer Roy McCurdy -- Adderley runs through a fairly standard set but does so in anything but a workmanlike way"". Cannonball in Japan Cannonball in Japan is a live recording by the Cannonball Adderley Quintet at the Sankei Hall in Tokyo which was first released on the Japanese Capitol label in 1966"
"Harold Bradley (pianist) James Harold Bradley (Mar 4, 1906 – Nov. 10, 1984), was a pianist and the Founder and Principal of the Bradley Institute for Music Education Research. Bradley was born ""James Harold Bradley"", the only son of James Clark Bradley, a grocery store owner in Niagara Falls, Ontario, Canada, and his wife, Madge Marsland Bradley. As a boy, Harold worked in his father’s grocery store and played baseball, where he earned the lifelong nickname ""Scoop"". His father was a well-known baseball player, and determined that a professional baseball career was best for Bradley. At the age of 16,"
"Adderley arrived in New York on a trip for the former to work on his Master's Degree at New York University. That first night in the city the brothers went to the Café Bohemia to hear the Oscar Pettiford band, which was the club's house band at the time. Jerome Richardson, who was the group's regular saxophonist was unavailable that evening due to a recording session. Pettiford asked Charlie Rouse - who was in the audience - if he would sit in, but Rouse did not have his saxophone with him. Pettiford then noticed another audience member, Adderley, who had"
"been renamed ""The Club"", after operating for years in Chicago under its old name) were friends, and Adderley offered to give the club a bit of free publicity. The title track became a surprise hit, reaching #11 on the Billboard Hot 100. On this album, Joe Zawinul played a Wurlitzer electric piano; however, subsequent live performances saw him taking up the new and mellower-sounding Fender Rhodes instrument. The track ""Hippodelphia"" is sometimes mis-spelt ""Hipadelphia"" on other recordings. The track listing for the album uses ""Hippodelphia"", while the liner notes, written by E. Rodney Jones, for the same album refer to"