Ads
related to: cannonball alto saxophone for sale on amazon warehouse near me
Search results
Results From The WOW.Com Content Network
Cannonball Musical Instruments first began as a saxophone manufacturer. Cannonball saxophones in current production are student Alcazar, intermediate Sceptyr, and professional Big Bell Stone Series, Vintage Series, and Key Artist Series models, [4] are made in a variety of finishes including The Brute (aged brass), Raven (iced black), Mad Meg (bare brass), and Hotspur (iced black and iced silver).
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 ...
Cannonball Adderley Quintet in Chicago (later released as Cannonball & Coltrane in 1964, on Limelight) is an album by jazz saxophonist Cannonball Adderley, his final release on the Mercury label, featuring performances by Adderley with John Coltrane, Wynton Kelly, Paul Chambers and Jimmy Cobb.
From 1955 to 1958, Miles Davis was leading what would come to be called his First Great Quintet.By 1958, the group consisted of John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums, [3] and had just been expanded to a sextet with the addition of Cannonball Adderley on alto saxophone.
His father played trumpet professionally in his younger years, and he passed down his trumpet to Cannonball. [3] When Cannonball picked up 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 [4] and in amateur gigs around the area.
Hearing Adderley's often thrilling, always well-constructed alto sax improvisations over tunes like the standard 'I Got It Bad and That Ain't Good' is reason enough for the album to exist, and although Russo's orchestral flourishes occasionally threaten to overwhelm the soloist (especially on the closing 'The Tune of the Hickory Stick'), they ...