Julian The Jovial
As a side note to the history of jazz, there is Julian The Jovial's legend : a parallel history full of fantasies, confabulations and whims of those two players and listeners who love this music so much that they are not satisfied with simply listening to it unfold. An example : this need to "nickname" the musicians and make them not only dukes and counts and presidents, but most of all to turn them into heroes, the heroes of the musical epic of the 20th century. This is how Julian Edwin Adderley (1928-1975) became "Cannonball" and not because his notes flew like cannon-balls, but because of a misunderstanding : he was supposed to be called "Cannibal" (following a bet that he won for eating two whole chickens one right after the other). Fate, luck and poor enunciation (or poor listening) gave way to something different and so, on November 25, 1960, Julian Edwin Adderley introduces himself to the Paris audience for the first time as "Cannonball" at the head of his quintet. His second time in Paris is five months later, on April 15, 1961.
This is the mature period of the Adderley brothers' quintet. An initial rehash as early as 1955 brings out their neo-bop flame with a rather traditional beat : Hank Jones (p) , Paul Chambers (b) and Kenny Clarke (dm) . The quintet that Parisians get to hear bears the traces of the leader's time alongside pianist George Shearing, and especially with the exceptional sextet with Miles Davis (tp), Coltrane (ts), Bill Evans or Wynton Kelly (p), Paul Chambers and Philly Joe Jones. One may wonder if Cannonball would have reached the level of technique that served his natural lyricism if he had not spent those two years with Coltrane. Would Nat have pushed that "milesdavisian" style if his older brother hadn't recorded as many hits with the great trumpet player of Kind of Blue ? The interplay of influences in jazz is a haystack where looking for the needle is better left undone.

The first three cuts of this CD are the first traces of Cannonball in France. Today, they seem especially short to us. But the Adderley brothers were not the only ones playing on this Jazz at the Philharmonic tour organized by Norman Granz. Also on the trip : Coleman Hawkins, Benny Carter, Don Byas, Dizzy Gillespie, Stan Getz, Lalo Shifrin, J.J. Johnson. Sorry there is so little. The other five titles are from the April 15, 1961 concert.
Two changes in the rhythm section of this second Julian and Nat Adderley Quintet : Bobby Timmons is replaced by the English pianist-vibraphonist Victor Feldman (1934-1987) and, on one piece, the addition of then-unknown Ron Carter, which allows bass player Sam Jones (1924-1981) to show off on cello. Let's say it flat out : these new players in no way detract from the group's musical purpose. In fact, Feldman's style is literally a carbon copy of Timmons' . You could even say it's an "overlay," given those chords which Feldman plays with as much gusto as did the too-quickly-disappeared composer of Moanin (whom Nat Adderley cites in Worksong) . You can hear this inspiration on the vibraphone in In Walk Ray. As for Louis Hayes, "he takes care of business," as the group's leader puts it. And when you realize how hard it is to play drums well (and especially, to backup and accompany soloists well) , this statement is in no way pejorative. In fact, have you ever heard anyone complain that someone is doing exactly what is expected of him ? Especially with that speed and regular beat !
The listener will clearly hear what characterizes each of these two concerts what makes them different and what makes them alike. While it seems that the "go for it" aspect never wanes, the time factor does sway the course of the protagonists. That's why the second concert seems richer to many listeners. Richer, because it's more relaxed. Richer, because it's less constrained. Jazz in whatever form does not like boundaries. The listener is always frustrated by the break. That's how much these musicians know how to take their listeners to the height of pleasure. You have to wonder how they can bring themselves to stop, and also why they do so and interrupt our happiness. Richer and deeper, too. The songs selected, which as is his habit, Cannonball announces with a politeness that is not simply professional, but noble are more complex and weightier. Jeannine rings out like a triumphant hymn, and Arriving Soon echoes back, full of political undertones that Cannonball is careful not to hide. The funky well-stressed tempo of The Chant (where in the chorus, the best compound swing reaffirms itself), contrasts with the softness of Serenity. And it is surely not due to luck that the quintet ends with Bohemia After Dark : The Cafe Bohemia is where Cannonball made is smashing debut in 1955, at the invitation of bass player Oscar Pettiford, the composer of the piece.
You have to wonder why he did not have the lasting presence that his unequalled talent clearly would have allowed. It seems he is personally responsible for his own decline when, as of 1968, he switches his group to electrical instruments and is a little too swayed by the fashion of the time. But, listen to his superbly controlled inflections (worthy of Hodges and Benny Carter), his constant references to both gospel and the blues. Bask in his parkerian ability to cut to the quick of the chords, to string them together as if they flow that way automatically. Don't hold back from the preeminent role granted to rhythm and tempo. And name someone who does it as well today.

François-Rene Simon Jazz Magazine.