89-419: Julian Edwin " Cannonball " Adderley (September 15, 1928 – August 8, 1975) was an American jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Adderley is perhaps best remembered for the 1966 soul jazz single " Mercy, Mercy, Mercy ", which was written for him by his keyboardist Joe Zawinul and became a major crossover hit on the pop and R&B charts. A cover version by
178-626: A "special relationship to time defined as 'swing ' ". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities". Krin Gibbard argued that "jazz
267-473: A drum made by stretching skin over a flour-barrel. Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843. There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Robert Palmer said of percussive slave music: Usually such music was associated with annual festivals, when
356-456: A form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations. These work songs were commonly structured around a repetitive call-and-response pattern, but early blues was also improvisational. Classical music performance is evaluated more by its fidelity to the musical score , with less attention given to interpretation, ornamentation, and accompaniment. The classical performer's goal
445-507: A headliner. He toured Japan, then returned to the U.S. and taught courses at Harvard while performing and recording with his quintet, which included Walter Booker , Jimmy Cobb , and Vincent Herring . Adderley established himself in his own right. He also worked with Ron Carter , Sonny Fortune , Johnny Griffin , and Antonio Hart . Adderley created the Adderley Brotherhood, a sextet which included several members of
534-410: A limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum which responded in syncopated accents, functioning as another "voice". Handy and his band members were formally trained African-American musicians who had not grown up with the blues, yet he was able to adapt the blues to a larger band instrument format and arrange them in
623-460: A multi- strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords . Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time. The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below. African-based rhythmic patterns such as tresillo and its variants,
712-518: A pitch which he called a 'jazz ball' "because it wobbles and you simply can't do anything with it". The use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune . Its first documented use in a musical context in New Orleans was in a November 14, 1916, Times-Picayune article about "jas bands". In an interview with National Public Radio , musician Eubie Blake offered his recollections of
801-660: A popular music form. Handy wrote about his adopting of the blues: The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect ... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key
890-587: 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 survived by his wife, Ann; a son, Nat Adderley Jr. of West Orange, N.J.; a daughter, Alison Adderley-Pittman of Palm Bay , Florida; and five grandchildren. He was an innovator in the popularization of soul jazz and was one of
979-410: A soloist and composer, Adderley had a wide range of abilities. He could improvise simpler, more soulful solos for soul jazz numbers, but he could experiment and show off all of his abilities for hard bop. Especially in playing hard bop, he was not afraid to use the range of the instrument, often playing below the typical cornet range for short bursts before returning to the normal range. Although his range
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#17327913219591068-544: A station in the United States. After returning home, he attended Florida A&M intending to become a teacher. Shortly before Adderley was expected to begin student teaching, Lionel Hampton played a concert at Florida A&M. Confident in his abilities, he played for Hampton, and Hampton invited him to join the band. Putting school on hold, he played under Hampton from 1954 to 1955 and visited Europe on tour. After returning, he intended to go back to school to become
1157-605: A teacher. The turning point in the Adderley brothers' careers occurred on a trip to New York in 1955. The brothers stopped by the Café Bohemia in Greenwich Village when bassist Oscar Pettiford was playing. Both of them showed up ready to play. Cannonball was asked to sit in because the regular saxophonist, Jerome Richardson was out, and he overwhelmed the musicians. Then Nat was pulled on stage, and everyone
1246-454: Is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". Duke Ellington , one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues ,
1335-693: Is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the Afro-Caribbean folk dances performed in New Orleans Congo Square and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the African Diaspora . Tresillo
1424-558: Is a reminder of "an oppressive and racist society and restrictions on their artistic visions". Amiri Baraka argues that there is a "white jazz" genre that expresses whiteness . White jazz musicians appeared in the Midwest and in other areas throughout the U.S. Papa Jack Laine , who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz". The Original Dixieland Jazz Band , whose members were white, were
1513-493: Is heard prominently in New Orleans second line music and in other forms of popular music from that city from the turn of the 20th century to present. "By and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions," jazz historian Gunther Schuller observed. "Some survived, others were discarded as the Europeanization progressed." In
1602-437: Is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on the contribution of the composer, if there is one, and more on the performer. The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer's mood, experience, and interaction with band members or audience members,
1691-625: The Atlantic slave trade had brought nearly 400,000 Africans to North America. The slaves came largely from West Africa and the greater Congo River basin and brought strong musical traditions with them. The African traditions primarily use a single-line melody and call-and-response pattern, and the rhythms have a counter-metric structure and reflect African speech patterns. An 1885 account says that they were making strange music (Creole) on an equally strange variety of 'instruments'—washboards, washtubs, jugs, boxes beaten with sticks or bones and
1780-617: The Dixieland jazz revival of the 1940s, Black musicians rejected it as being shallow nostalgia entertainment for white audiences. On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and jazz fusion as forms of debasement and betrayal. An alternative view is that jazz can absorb and transform diverse musical styles. By avoiding the creation of norms, jazz allows avant-garde styles to emerge. For some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz
1869-685: The Riverside label), a bop group that formed at the Monterey Jazz Festival 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
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#17327913219591958-658: The Woody Herman sextet. Cannonball gained a higher profile and joined the Miles Davis sextet alongside John Coltrane in time to record the album Kind of Blue . In 1959, the Cannonball Adderley Quintet reunited. This time around the group was more successful and had its first hit, "This Here", written by pianist Bobby Timmons . The group sound became known as soul jazz , starting the genre. The quintet also played hard bop , as everyone in
2047-411: The 1920s Jazz Age , it has been recognized as a major form of musical expression in traditional and popular music . Jazz is characterized by swing and blue notes , complex chords , call and response vocals , polyrhythms and improvisation . As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in
2136-451: The 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women. Trombonist Melba Liston is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with Randy Weston from
2225-476: The 21st century, such as Latin and Afro-Cuban jazz . The origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm , a slang term dating back to 1860 meaning ' pep, energy ' . The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described
2314-575: The Black middle-class. Blues is the name given to both a musical form and a music genre, which originated in African-American communities of primarily the Deep South of the United States at the end of the 19th century from their spirituals , work songs , field hollers , shouts and chants and rhymed simple narrative ballads . The African use of pentatonic scales contributed to
2403-513: The Buckinghams , who added lyrics, also reached No. 5 on the charts. Adderley worked with Miles Davis , first as a member of the Davis sextet, appearing on the seminal records Milestones (1958) and Kind of Blue (1959), and then on his own 1958 album Somethin' Else . He was the elder brother of jazz trumpeter Nat Adderley , who was a longtime member of his band. Julian Edwin Adderley
2492-609: The Cannonball Adderley Quintet. This group toured Europe in 1980. Shout Up a Morning , after having a concert performance in Carnegie Hall shortly after Cannonball's death, was staged in several locations around the United States in 1986. Adderley became involved in several other ensembles over the next decade, including the Paris Reunion Band and a group called the Riverside Reunion Band (after
2581-464: The Caribbean. African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and patting juba dancing . In the opinion of jazz historian Ernest Borneman , what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time. A three-stroke pattern known in Cuban music as tresillo
2670-665: The Starlight Roof at the famed Waldorf-Astoria Hotel . He entertained audiences with a light elegant musical style which remained popular with audiences for nearly three decades from the 1930s until the late 1950s. Jazz originated in the late-19th to early-20th century. It developed out of many forms of music, including blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . It also incorporated interpretations of American and European classical music, entwined with African and slave folk songs and
2759-589: The U.S. Female jazz performers and composers have contributed to jazz throughout its history. Although Betty Carter , Ella Fitzgerald , Adelaide Hall , Billie Holiday , Peggy Lee , Abbey Lincoln , Anita O'Day , Dinah Washington , and Ethel Waters were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist Lil Hardin Armstrong , trumpeter Valaida Snow , and songwriters Irene Higginbotham and Dorothy Fields . Women began playing instruments in jazz in
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2848-451: 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 to 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
2937-552: The blues are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as Gerhard Kubik points out, whereas the spirituals are homophonic , rural blues and early jazz "was largely based on concepts of heterophony ". During the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own cakewalk dances. In turn, European American minstrel show performers in blackface popularized
3026-500: The charts. His instrumental "Sack o' Woe" was covered by Manfred Mann on their debut album, The Five Faces of Manfred Mann . In July 1975, Adderley suffered a stroke from a cerebral hemorrhage and died four weeks later, on August 8, 1975, at St. Mary Methodist Hospital in Gary, Indiana . He was 46 years old. He was survived by his wife Olga James Adderley , parents Julian Carlyle and Jessie Lee Adderley, and brother Nat Adderley . He
3115-428: The cornet. He also enjoyed the cornet's historic quality, reinvigorating the instrument played by early jazz musicians. Adderley is widely attributed with the development and establishment of the 1960s style of soul jazz along with the rest of the members Cannonball Adderley Quintet. This style is characterized by simple harmonies, a heavy blues feel, catchy riffs, and a presence of the church. The point of soul jazz
3204-555: The development of blue notes in blues and jazz. As Kubik explains: Many of the rural blues of the Deep South are stylistically an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt: W. C. Handy became interested in folk blues of the Deep South while traveling through the Mississippi Delta. In this folk blues form, the singer would improvise freely within
3293-434: The early 1910s, combining earlier brass band marches, French quadrilles , biguine , ragtime and blues with collective polyphonic improvisation . However, jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands , Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were
3382-509: The early 1920s, drawing particular recognition on piano. When male jazz musicians were drafted during World War II, many all-female bands replaced them. The International Sweethearts of Rhythm , which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the USO , touring Europe in 1945. Women were members of the big bands of Woody Herman and Gerald Wilson . Beginning in
3471-648: The early 1940s. Adderley moved to Broward County, Florida , in 1948 after finishing his music studies at Florida A&M and became the band director at Dillard High School in Fort Lauderdale , a position which he held until 1950. Adderley was drafted into the U.S. Army in 1950 during the Korean War , serving as leader of the 36th Army Dance Band . Cannonball left Southeast Florida and moved to New York City in 1955. One of his known addresses in New York
3560-480: The education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, minstrel shows , and in vaudeville , during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as ragtime developed. Ragtime appeared as sheet music, popularized by African-American musicians such as
3649-589: The end of the 1960s, Adderley's playing began to reflect the influence of electric jazz. In this period, he released albums such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970). 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 José Feliciano and David Carradine in
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3738-556: The entertainer Ernest Hogan , whose hit songs appeared in 1895. Two years later, Vess Ossman recorded a medley of these songs as a banjo solo known as "Rag Time Medley". Also in 1897, the white composer William Krell published his " Mississippi Rag " as the first written piano instrumental ragtime piece, and Tom Turpin published his "Harlem Rag", the first rag published by an African-American. Classically trained pianist Scott Joplin produced his " Original Rags " in 1898 and, in 1899, had an international hit with " Maple Leaf Rag ",
3827-457: The episode "Battle Hymn" in the third season of the TV series Kung Fu . 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
3916-459: The first jazz group to record, and Bix Beiderbecke was one of the most prominent jazz soloists of the 1920s. The Chicago Style was developed by white musicians such as Eddie Condon , Bud Freeman , Jimmy McPartland , and Dave Tough . Others from Chicago such as Benny Goodman and Gene Krupa became leading members of swing during the 1930s. Many bands included both Black and white musicians. These musicians helped change attitudes toward race in
4005-415: The first written music which was rhythmically based on an African motif (1803). From the perspective of African-American music, the "habanera rhythm" (also known as "congo"), "tango-congo", or tango . can be thought of as a combination of tresillo and the backbeat . The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired
4094-769: 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 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
4183-427: The group had been influenced by bebop and wanted to continue a virtuosic tradition. Soul jazz kept the group popular, while hard bop gave the musicians a chance to challenge themselves and demonstrate their abilities. During the 1960s, Adderley acted as cornetist, composer, and manager for the quintet. While he kept the band in order, he also composed some of the group's most successful songs. His most successful song
4272-532: The habanera rhythm and cinquillo , are heard in the ragtime compositions of Joplin and Turpin. Joplin's " Solace " (1909) is generally considered to be in the habanera genre: both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk," whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass". In
4361-667: The heir to the mantle of Charlie Parker . Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1955. 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. He joined the Davis band in October 1957, three months prior to the return of John Coltrane to the group. Davis notably appears on Adderley's solo album Somethin' Else (also featuring Art Blakey and Hank Jones ), which
4450-424: The influences of West African culture. Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre. By the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as Congo Square , famous for its African dances. By 1866,
4539-460: The instruments of jazz: brass, drums, and reeds tuned in the European 12-tone scale. Small bands contained a combination of self-taught and formally educated musicians, many from the funeral procession tradition. These bands traveled in black communities in the deep south. Beginning in 1914, Louisiana Creole and African-American musicians played in vaudeville shows which carried jazz to cities in
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#17327913219594628-578: The late 1950s into the 1990s. Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in Tin Pan Alley helped shape the many different sounds that jazz came to incorporate. Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time. George Bornstein wrote that African Americans were sympathetic to
4717-539: The late 1950s, using the mode , or musical scale, as the basis of musical structure and improvisation, as did free jazz , which explored playing without regular meter, beat and formal structures. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music 's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in
4806-955: The many top players he employed, such as George Brunies , Sharkey Bonano , and future members of the Original Dixieland Jass Band . During the early 1900s, jazz was mostly performed in African-American and mulatto communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans. Many jazz musicians from African-American communities were hired to perform in bars and brothels. These included Buddy Bolden and Jelly Roll Morton in addition to those from other communities, such as Lorenzo Tio and Alcide Nunez . Louis Armstrong started his career in Storyville and found success in Chicago. Storyville
4895-413: The melody was stated briefly at the beginning and most of the piece was improvised. Modal jazz abandoned chord progressions to allow musicians to improvise even more. In many forms of jazz, a soloist is supported by a rhythm section of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the composition structure and complement
4984-417: The most prolific jazz artists of his time, recording nearly 100 albums. He proved that cornet could be a modern jazz instrument. Although Adderley started playing trumpet, he switched to the less common cornet . He preferred the darker tone of the conical cornet to the brighter sound of the cylindrical trumpet. He could produce a rich, earthy tone that became his signature sound, one that could only come from
5073-697: The music internationally, combining syncopation with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African American cultures. The Black Codes outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in
5162-583: The music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery. Although the pattern is only half a clave , Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz. The abolition of slavery in 1865 led to new opportunities for
5251-467: The northeastern United States, a "hot" style of playing ragtime had developed, notably James Reese Europe 's symphonic Clef Club orchestra in New York City, which played a benefit concert at Carnegie Hall in 1912. The Baltimore rag style of Eubie Blake influenced James P. Johnson 's development of stride piano playing, in which the right hand plays the melody, while the left hand provides
5340-618: The northern and western parts of the U.S. Jazz became international in 1914, when the Creole Band with cornettist Freddie Keppard performed the first ever jazz concert outside the United States, at the Pantages Playhouse Theatre in Winnipeg , Canada. In New Orleans, a white bandleader named Papa Jack Laine integrated blacks and whites in his marching band. He was known as "the father of white jazz" because of
5429-470: The performer may change melodies, harmonies, and time signatures. In early Dixieland , a.k.a. New Orleans jazz, performers took turns playing melodies and improvising countermelodies . In the swing era of the 1920s–40s, big bands relied more on arrangements which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the bebop era of the 1940s, big bands gave way to small groups and minimal arrangements in which
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#17327913219595518-500: The period 1820–1850. Some of the earliest [Mississippi] Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War. Another influence came from the harmonic style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals . The origins of
5607-458: The perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has
5696-494: The plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of popular music saw themselves as natural allies with African Americans. The Jazz Singer with Al Jolson is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture. Benny Goodman was a vital Jewish American to the progression of Jazz. Goodman
5785-459: The post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures. This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated cross-rhythms ," observed
5874-676: The pre-jazz era and contributed to the codification of jazz through the publication of some of the first jazz sheet music. The music of New Orleans , Louisiana had a profound effect on the creation of early jazz. In New Orleans, slaves could practice elements of their culture such as voodoo and playing drums. Many early jazz musicians played in the bars and brothels of the red-light district around Basin Street called Storyville . In addition to dance bands, there were marching bands which played at lavish funerals (later called jazz funerals ). The instruments used by marching bands and dance bands became
5963-537: The prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines. The mid-1950s saw the emergence of hard bop , which introduced influences from rhythm and blues , gospel , and blues to small groups and particularly to saxophone and piano. Modal jazz developed in
6052-410: The rhythm and bassline. In Ohio and elsewhere in the mid-west the major influence was ragtime, until about 1919. Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by
6141-556: The slang connotations of the term, saying: "When Broadway picked it up, they called it 'J-A-Z-Z'. It wasn't called that. It was spelled 'J-A-S-S'. That was dirty, and if you knew what it was, you wouldn't say it in front of ladies." The American Dialect Society named it the Word of the 20th Century . Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to rock -infused fusion . Attempts have been made to define jazz from
6230-444: The soloist. In avant-garde and free jazz , the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters. Since the emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form". Regarding
6319-419: The trumpet, Adderley was hired to ghost everything that the character played. His other significant project during this time was a musical. He and his brother wrote Shout Up a Morning based on the folk hero John Henry . While this project started as a collaboration, work was interrupted when Cannonball died from a stroke. After Cannonball's death in 1975, the quintet broke up. Nat Adderley toured Europe as
6408-500: The twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera "reached the U.S. twenty years before the first rag was published." For the more than quarter-century in which the cakewalk , ragtime , and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music. Habaneras were widely available as sheet music and were
6497-575: The use of tresillo-based rhythms in African-American music. New Orleans native Louis Moreau Gottschalk 's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand. In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant cinquillo appears extensively. The figure was later used by Scott Joplin and other ragtime composers. Comparing
6586-498: The writer Robert Palmer, speculating that "this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured." African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza ) gained international popularity. Musicians from Havana and New Orleans would take
6675-500: The year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheepskin-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few [accounts] from the southeastern states and Louisiana dating from
6764-417: Was " Work Song " (January 1960), a hard bop tune. Adderley called it his "Social Security song" due to the steady flow of income over the years from royalty payments when others recorded the song. "Work Song" is now considered a jazz standard. His other popular songs include " Jive Samba ", " Hummin' ", "Sermonette", and "The Old Country". While he was an integral part of the Cannonball Adderley Quintet, this
6853-652: Was an American jazz trumpeter. He was the younger brother of saxophonist Julian "Cannonball" Adderley , whom he supported and played with for many years. Adderley's composition " Work Song " (1960) is a jazz standard , and also became a success on the pop charts after singer Oscar Brown Jr. wrote lyrics for it. Nat Adderley was born in Tampa , Florida, but moved to Tallahassee when his parents were hired to teach at Florida A&M University . His father played trumpet professionally in his younger years, and he passed down his trumpet to Cannonball. When Cannonball picked up
6942-493: Was born on September 15, 1928, in Tampa, Florida , to high school guidance counselor and cornet player Julian Carlyle Adderley and elementary school teacher Jessie Johnson. Elementary school classmates called him "cannonball" (i.e., "cannibal") after his voracious appetite. Cannonball moved to Tallahassee 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
7031-469: Was buried in the Southside Cemetery, Tallahassee . Later in 1975, he was inducted into the DownBeat Jazz Hall of Fame. Joe Zawinul's composition "Cannon Ball" on Weather Report's Black Market album is a tribute to his former leader. Pepper Adams and George Mraz dedicated the composition "Julian" on the 1975 Pepper Adams album of the same name days after Cannonball's death. Adderley
7120-401: Was equally impressed. This appearance was enough to renew their careers. Job offers began pouring in, and Nat recorded for the first time that year. The brothers moved to New York City, founding the bop group Cannonball Adderley Quintet in 1956. Due to a lack of popular interest, they disbanded the group in 1957. Nat played for trombonist J. J. Johnson for a couple of years and ended up in
7209-432: 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 . Cannonball was asked to sit in with Oscar Pettiford in place of his band's regular saxophonist, Jerome Richardson , who was late for the gig. The "buzz" on the New York jazz scene after Adderley's performance announced him as
7298-590: Was initiated as an honorary member of Phi Mu Alpha Sinfonia fraternity (Gamma Theta chapter, University of North Texas , '60, and Xi Omega chapter, Frostburg State University , '70) and Alpha Phi Alpha (Beta Nu chapter, Florida A&M University ). Jazz Jazz is a music genre that originated in the African-American communities of New Orleans , Louisiana , in the late 19th and early 20th centuries, with its roots in blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . Since
7387-433: Was major ... , and I carried this device into my melody as well. The publication of his " Memphis Blues " sheet music in 1912 introduced the 12-bar blues to the world (although Gunther Schuller argues that it is not really a blues, but "more like a cakewalk"). This composition, as well as his later " St. Louis Blues " and others, included the habanera rhythm, and would become jazz standards . Handy's music career began in
7476-399: Was not the only project occupying his time in his career as a professional jazz musician. Since moving to New York, he had been recording outside the Adderley group. He worked with Kenny Clarke , Wes Montgomery , and Walter Booker . Other projects included the film A Man Called Adam (1966). In the film, Sammy Davis Jr. 's character plays the trumpet. Since Davis could not himself play
7565-631: Was not very successful; however, after leaving Davis' group, he formed another group again with his brother. The new quintet, which later became the Cannonball Adderley Sextet, and Cannonball's other combos and groups, included such noted musicians as saxophonists Charles Lloyd and Yusef Lateef , pianists Bobby Timmons , Barry Harris , Victor Feldman , Joe Zawinul , Hal Galper , Michael Wolff , and George Duke , bassists Ray Brown , Sam Jones , Walter Booker , and Victor Gaskin , and drummers Louis Hayes and Roy McCurdy . By
7654-651: Was recorded shortly after the two met. Adderley then 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 Evans appearing on 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 . In 1962, Cannonball married actress Olga James . The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet . Cannonball's first quintet
7743-460: Was shut down by the U.S. government in 1917. Cornetist Buddy Bolden played in New Orleans from 1895 to 1906. No recordings by him exist. His band is credited with creating the big four: the first syncopated bass drum pattern to deviate from the standard on-the-beat march. As the example below shows, the second half of the big four pattern is the habanera rhythm. Nat Adderley Nathaniel Carlyle Adderley (November 25, 1931 – January 2, 2000)
7832-474: Was the leader of a racially integrated band named King of Swing. His jazz concert in the Carnegie Hall in 1938 was the first ever to be played there. The concert was described by Bruce Eder as "the single most important jazz or popular music concert in history". Shep Fields also helped to popularize "Sweet" Jazz music through his appearances and Big band remote broadcasts from such landmark venues as Chicago's Palmer House , Broadway's Paramount Theater and
7921-400: 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
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