Writing about Julian
"Cannonball" Adderley should be one of the simplest of
tasks. There have been countless articles, countless reviews,
dozens of liners on various records albums from wich to draw, and
yet , it is difficult. Difficult because not only was he someone
with whom I was closely associated in a varierty of different
projects for ever a decade , but he was also my closest friend ,
The lines of our ralationship were
clearly drawn at first. I was notified by then head of the
production (A&R) depertement that Cannon had request me to
work as his producer when he signed with Capitol. However , as we
became closer friends our relationship also strarted to change in
our methods of work.
Our collaboration got tighter on
his LP's and he started to get more and more involved in the
albus that I was writing for myself as an artist. In the last
five years, our roles within this relationship became more
interwined. He became heavely involved in the production of my
albums and I found myself getting more involved in some of the
writting and arranging of his and brother Nat's. I include this
information in these notes so that those who take the time to
read "liner notes" will have some understanding
regarding our occupation with each over.
Cannon's music is all
encompassing. He could sit and listen to Earth Wind & Fire
with the same intensity with witch he would listen to Chick
Corea. I would drop by this home discuss something and find him
totally engrossed in a piece by Prokofiev. He was very fond of a
group called Traffic and wrote a tune that is on a LP of Nat's
called "Traffic".I believe that in this album you will
hera a great deal of this versatility.
the distorded guitar sound of Mike
Deasy combines beautifully with the musical thoughts of Cannon,
Nat, George Duke, Walter Booker and Roy Mac Curdy, which was the
make-up of the Cannonball Adderley Quintet at the time of this
recording. A frequent guest artist who worked with Cannonball on
in innumerable occasions is the most innovative percussionist
today, Airto Moreira. Another guest on this record is the great
saxophonist Ernie Watts , also a friend, who not only played on
this session but collaborated with Julian on the piece ,
"Music , You All" .
Let me state now that these are
not reissue or pickup tracks. The "Walk Tall "
composition of Joe Zawinul is unlike any other version that
people may be familiar with, due to the completely free and open
feeling that the players had while working before a live audience
at the Troubadour Nightclub in Los Angeles. And as I mentioned
previously, Mike Deasy's contribution on the guitar put eveything
that he played on with the group into another dimension. Amore
extant one, if you will.
Nat's singing of " Ho
Babe" , o his particular night has got to be one of the
highlights of any Cannonball Adderley Quintet album. It's totally
" down" , but it's also beautiful.
For me, it is in the
"raps" , that you will hear Julian Cannonball Adderley
. Not just for his eloquence, or glibness, but for his innermost
feelings on what the "music" meant to him. I think that
he spoke for all of us who call ourselves "musicians"
and just maybe for anyone in the music business who
realizes that phrase is made up of two words. His comments on
time seem now, when listening to them, as if he had a forewarning
of the short length left to him of this most precious of all our
Anyway , just listen and dig what
he , his brother , and their fellow players are doing for you
on this album , because is what it's all about.
" Check it out..... check
it. See ya ,-hear?"