Cannonball Adderley

加農(nóng)炮·阿德雷1928年出生于美國(guó)佛羅里達(dá)州，于1975年逝世。Adderley是一位卓越的中音薩克斯演奏家，他的演奏粗纊豪放，熱情洋溢，具有一種原始美。Adderley不僅是硬波普爵士樂中的重要人物，他還是同一時(shí)期另一個(gè)重要流派——Soul Jazz中舉足輕重的人物。僅僅活了47歲的Adderley在爵士音樂史上，始終只受到少數(shù)有識(shí)之士的敬重，對(duì)大部分爵士樂迷而言，或許他只是一位流行樂匠，而很少體會(huì)到他大師級(jí)地位與影響力的一面。他的音樂風(fēng)格帶有藍(lán)調(diào)的影響，雖然有時(shí)會(huì)因老式作風(fēng)引起人們的批評(píng)，但在展露鋒芒之時(shí)，卻總讓人驚訝于他對(duì)于爵士樂藝術(shù)的奉獻(xiàn)和執(zhí)著之深。Cannonball Adderley最大的貢獻(xiàn)應(yīng)該是他運(yùn)用特別的節(jié)奏組合，賦予60年代Soul Jazz風(fēng)格的本質(zhì)確立。雖然有些人認(rèn)為那只是商業(yè)手段的推波助瀾，但仔細(xì)聆聽同時(shí)期其它人作品，仍以Cannonball Adderley的最為精純。
 
在服役前后，Cannonball曾擔(dān)任高中音樂老師，并組團(tuán)表演。后來(lái)受到薩克斯風(fēng)手Eddie Vinson的鼓勵(lì)，于1955年，在紐約錄制他的第一張作品，與Paul Chambers與Kenny Clarke合奏。這時(shí)正巧Charlie Parker才過世不久，紐約之行Cannonball適時(shí)接替了這個(gè)空缺，并造成當(dāng)?shù)氐恼鸷?。接著，他和弟弟Nat Adderley合組一支五重奏，以節(jié)奏變換特性廣受歡迎。即興的獨(dú)奏明顯的受到Charlie Parker的影響，但卻沒有Charlie那種刻意引人注目的聲調(diào)。在節(jié)奏方面，亦呈現(xiàn)同時(shí)期Eddie Vinson和Louis Jordan的特有韻味，毫無(wú)拘泥之意。在綜合這些特點(diǎn)之后， Cannonball經(jīng)常在經(jīng)營(yíng)旋律時(shí)長(zhǎng)篇大作的冠以裝飾音，讓聽者喘息難當(dāng)。然而，這個(gè)偏好至今尚無(wú)人出其右。
 
by Scott Yanow
 
One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound (as opposed to many of the more serious stylists of his generation) that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.
 
Adderley already had an established career as a high school band director in Florida when, during a 1955 visit to New York, he was persuaded to sit in with Oscar Pettifords group at the Cafe Bohemia. His playing created such a sensation that he was soon signed to Savoy and persuaded to play jazz full-time in New York. With his younger brother, cornetist Nat, Cannonball formed a quintet that struggled until its breakup in 1957. Adderley then joined Miles Davis, forming part of his super sextet with John Coltrane and participating on such classic recordings as Milestones and Kind of Blue. Adderleys second attempt to form a quintet with his brother was much more successful for, in 1959, with pianist Bobby Timmons, he had a hit recording of This Here. From then on, Cannonball always was able to work steadily with his band.
 
During its Riverside years (1959-1963), the Adderley Quintet primarily played soulful renditions of hard bop and Cannonball really excelled in the straight-ahead settings. During 1962-1963, Yusef Lateef made the group a sextet and pianist Joe Zawinul was an important new member. The collapse of Riverside resulted in Adderley signing with Capitol and his recordings became gradually more commercial. Charles Lloyd was in Lateefs place for a year (with less success) and then with his departure the group went back to being a quintet. Zawinuls 1966 composition Mercy, Mercy, Mercy was a huge hit for the group, Adderley started doubling on soprano, and the quintets later recordings emphasized long melody statements, funky rhythms, and electronics. However, during his last year, Cannonball Adderley was revisiting the past a bit and on Phenix he recorded new versions of many of his earlier numbers. But before he could evolve his music any further, Cannonball Adderley died suddenly from a stroke.