RLP12-269
Portrait of Cannonball: JULIAN ADDERLEY Quintet

RLP-117 118 A
RLP-117 118 front
RLP-117 118 back.jpg
RLP-117 118 A.jpg
RLP-117 118 B.jpg

Julian “Cannonball” Adderley (as) Blue Mitchell (tp) Bill Evans (p) Sam Jones (b) Philly Joe Jones (drs)

New York; July 1, 1958


SIDE 1

1. Minority (7:15) (Gigi Gryce)

2. Straight Life (5:30) (Julian Adderley)

3. Blue Funk (5:30) (Sam Jones)

SIDE 2

1. A Little Taste (4:34) (Julian Adderley)

2. People Will Say We're in Love (9:38) (Rodgers & Hammerstein)

3. Nardis (5:28) (Miles Davis)


   “Portrait of Cannonball” strikes us as a most fitting title for JULIAN ADDERLEY’s first album for Riverside, not only because of the unusually expressive photograph of the man on the cover, but also because the contents of the LP seem to make up an equally expressive musical “portrait.”

   Centuries ago, when a painter was commissioned by some important or wealthy man to create one of those portraits that were supposed to hang forever in ancestral halls, he was apt to show the subject at his ease and in familiar surroundings: perhaps seated in a favorite chair or with members of his family around him. This album meets many of the conditions for being a current jazz equivalent of such a portrait. Here is Cannonball, blowing in wonderfully relaxed fashion, surrounded by a hand-picked group that happens to represent different phases of his career to date.

   Adderley himself is just the same sort of imposing, assured figure as one of those portrait subjects of another day. But since the mood here is modern, we might as well get off this particular comparison by noting that there is nothing formal in this portrait: both the cover photo and the spirit of the album are candid and easygoing . . .

   Cannonball today, just short of thirty (he was born in September, 1928), can be described as having a solid present position in jazz and an awesomely promising future. This is true at least partly because he has been able to resist the worst aspects of a dangerous kind of success. The usual jazz pattern calls for much early scuffling (the big fish from a little local pond comes to the big city and gets lost in the shuffle for a while before eventually, if at all, finding his way). But when Julian Adderley first arrived in New York from Fort Lauderdale, Florida, where he had been a successful local bandleader and then a high school music teacher and band director, he found to his surprise that he had it made in advance!

   Rumor, reputation and legend had preceded him on their mysterious grapevine. There were all sorts of stories: some seemed based on an assumption that all of Florida (outside of Miami) is backwoods and swamps, and claimed that this boy born and raised in Tallahassee Parker until after he had coincidentally developed a similar style; some, based on ignorance of how young he was, claimed that Adderley had been playing that way first, or even that Bird had somehow heard and copied him; still others went back to some mysterious other musician from whom both had separately learned.

   When, out of all this fog and nonsense, there appeared at the Café Bohemia in New York, in the Summer of 1955, a young man who really played remarkably well, the result was an immediate sensation. He began recording, went on the big-cities road route with his own group. He was, without quite knowing what hit him, a star.

   It was all a bit too good to be true. The first kind of reaction was one described by Coleman Hawkins in his Documentary album (RLP12-117/8), in speaking of the musical perils of New York. He used Cannonball as an example of how the bright new star becomes everyone’s target; everyone considers him the man it would be most advantageous to ‘cut’, and inevitably at least some succeed. Another problem was that the critics largely turned on Julian, dismissing him as just a Bird imitator. Every alto player for years now has been called that, but it’s even easier to attack on those grounds someone who gets publicized as “the new Bird.” Finally, as Julian himself admits, he just didn’t know enough about all the sub-surface problems of being a big-time bandleader. Although he turned out to be one of the few capable of introducing his personnel and tunes in lucid, audible English, there were lots of non-musical essentials of handling people and places that you just can’t command without experience. So, by early 1958, he had disbanded and begun a new phase of his career, as a featured member of the Miles Davis Sextet.

   The Cannonball who had come up from Florida was very probably less deserving of the “Bird imitator” rag than many others, although of course he shared with practically everyone that deep influence. Julian’s first interest in jazz had come from his father, a one-time cornetist. This has helped make him one of the few modernists with knowledge and appreciation of the jazzmen and music that preceded him. He has also always had a strongly lyrical quality and a deep understanding of the blues. These were qualities that Bird had, too; and that kind of similarity should not be undervalued.

   By now he has added a growing maturity of concept and richness of tone to his originally powerful musical equipment. That pre-appearance hoopla and legend (none of it of his own making) has died down – and it’s important to note that Cannonball never paid it any attention. So he stands on his own feet today as one of the most richly talented and swiftly-growing of contemporary jazz figures, speaking ever more importantly with his own musical voice.

   The colleagues he selected for this album include, first of all, “BLUE MITCHELL, an exceptionally gifted young trumpet man who is an old friend from Florida days. It was Cannonball who brought Blue forcibly to Riverside’s attention (the story is told in detail in the notes to Mitchell’s own album – RLP12-273 – recorded in the same weeks as this one) and it was Cannonball who felt that using Mitchell on this LP would be a most helpful way of introducing him. SAM JONES, one of the best of several superior young bassists currently on the New York scene, is also from Florida and was an important part of Adderley’s own group. PHILLY JOE JONES, (no relation), who was Miles Davis’ drummer when Cannonball joined that unit, is one of today’s most formidable rhythm men. He can be heard with great frequency on Riverside LPs, and his presence here is an indication that Cannonball shares our high opinion of him. BILL EVANS, also currently featured with Miles, is a brilliant and distinctive stylist just beginning to gain recognition (he was voted “New Star” pianist in the 1958 Down Beat Critics Poll).

   The friends-and-associates aspect of this “portrait” is also on evidence in the repertoire. In addition to one free-blowing version of a standard, there are two Cannonball originals (A Little Taste, first recorded on the first album Adderley made; and Straight Life, a new ballad), a blues contributed by Sam Jones, a new scoring of one of the best tunes of the talented composer-arranger-altoist Gigi Gryce, and finally the Oriental-flavored Nardis, one of Miles’ rather infrequent compositions, specifically written for Cannonball’s Riverside debut.


   Cannonball can also be heard on Riverside in an unusual extended composition by John Benson Brooks –

ALABAMA CONCERTO: featuring Cannonball Adderley, Art Farmer (RLP 12-277)

   Mitchell appears on –

BLUE MITCHELL: Big Six; with Johnny Griffin, Curtis Fuller, Philly Joe Jones (RLP 12-273)

   Evans made his record debut on –

BILL EVANS: New Jazz Conceptions (RLP 12-223)

   Philly Joe Jones and Sam Jones are also teamed on –

In Orbit: CLARK TERRY Quartet featuring Thelonious Monk (RLP 12-271)

A HIGH FIDELITY Recording – Riverside-Reeves SPECTROSONIC High Fidelity Engineering

   (Audio Compensation: RIAA Curve).

Produced, and notes written by ORRIN KEEPNEWS.

Cover designed by PAUL BACON; cover photograph

Engineer: JACK MATHEWS (Reeves Sound Studios).


RIVERSIDE RECORDS are released by BILL GRAUER PRODUCITONS, Inc.

553 West 51st Street New York 19, N.Y.