In this edition, Ralph J. Gleason’s liner notes to this classic 1959 recording describe the epic four week stint of Cannonball Adderley’s Quintet in San Francisco’s Jazz Workshop, as well as the vibrant late-50’s jazz scene in the city’s North Beach neighborhood.
Gleason — who at the time was a music critic at the San Francisco Chronicle — would go on to co-found Rolling Stone Magazine. North Beach (particularly Broadway) — while forever bohemian — would subsequently became the home to Carol Doda and a boundary-breaking strip club scene.
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I’ve been revisiting some favorite recordings this week, among them the classic 1958 Cannonball Adderley-led session Somethin’ Else, with Hank Jones, Art Blakey, Sam Jones, and, in a rare appearance as sideman, Miles Davis. The tune I have been stuck on is “One For Daddy-O,” a blues written by Cannonball’s brother Nat that features a flawless blues solo by Miles.
I dug into the liner notes and was reminded of how the critic Leonard Feather used this particular solo as a platform on which to describe the essence of the “deeper and broader blues of today,” refuting a “misinformed” Ebony piece of the era that suggested that
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For those of us who bought it “for the articles,” it was easy to see that few publications supported and promoted jazz music during the 50’s and 60s quite like Playboy magazine. Among its many endeavors involving jazz, Playboy, Inc. produced festivals and concerts, featured artists on its late-night television programs, invited readers to vote for their favorite performers by instrument, and released record albums. The music was a passion of founder Hugh Hefner,who found that its aesthetic fit in well with those of other “products” pitched to the sophisticated and elite male of the era. Jazz conversations were often found within the pages — the first of the now famous Playboy interviews featured Miles Davis in a 1962 conversation with a young Alex Haley.
In February, 1964, Playboy published a remarkable conversation on jazz. Hosted by journalist Nat Hentoff, “The Playboy Panel: Jazz — Today and Tomorrow” included the musicians […] Continue reading »
Julian “Cannonball” Adderley’s stellar career began in the era of hard bop and ended (far too soon) during the time of jazz fusion. In between, he played on some of the most prominent recordings in the history of jazz — Miles Davis’ Kind of Blue and his own Somethin’ Else among them — and ultimately became what the critic Gary Giddins described as “the patron saint of the soul-hymn movement,” a music that would reach a broad affluent audience while also keeping jazz relevant in the African-American neighborhoods. […] Continue reading »
Cannonball Adderley was an endearing, charismatic and cutting-edge musician who, as Adderley biographer Cary Ginell writes in the introduction of Walk Tall: The Music and Life of Julian “Cannonball” Adderley “brought an enthusiasm for his music to nightclubs around the world, expanding jazz’s boundaries with a fresh exuberance as the music progressed from the bebop of the 1940s and ’50s to combine with gospel and soul to help pioneer the subgenres of hard bop and soul jazz in the ’60’s.” His signature sound — though cut short at the age of 46 in 1975 — remains an essential ingredient of the music’s past, present and future.
I am in the process of working on an interview with Ginell, which I expect will be published sometime in August. Meanwhile, the book’s Foreward — a fond remembrance of Adderley by his friend Quincy Jones — is published here in its entirety, […] Continue reading »