". . . My Farfisa Fast Four and Leslie 145 were setup in a prominent location in the den of our apartment for quick and easy access. Truth is, I'm not sure if I even played once a week at that time. But I was building my vinyl record album collection of my favorite jazz cats during the period and joyfully and effortlessly soaking in their music as often as I could. My Coltrane, Dolphy, Adderley and McLean collections grew with much less reliance on the old Tull, Gentle Giant and Yes for musical satisfaction. This too combined with sounds exemplifying the musical tastes of my significant other, sometimes not so willingly or graciously.
My technique and creativity suffered during this period. Whenever I played, generally on Sunday afternoons, I ran through the same several bebop arrangements of standards that I had learned from or through my elementary-school friend Bob. I was grateful for Bob's influence which led me into the direction of jazz, that combined with my exposure to a superb collection of jazz, vinyl LPs at the college radio station where I worked during my undergraduate years.
It wasn't until our eldest son, Spencer, was born that I began to crave more music-related activity. . ."
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". . . George Duke attended Tamalpais High School in Mill Valley before earning a bachelor's degree in trombone and composition with a minor in contrabass, from the San Francisco Conservatory in 1967. Playing initially with friends from garages to local clubs, Duke quickly eased his way into session work, which refined his abilities and expanded his approach to music. (He later earned his Masters Degree in composition from San Francisco State University. His website mentions a short stint teaching a course on Jazz And American Culture at Merritt Junior College in Oakland). Beginning in 1967 Duke experimented further with jazz fusion, playing and recording with violinist Jean-Luc Ponty, as well as performing with the Don Ellis Orchestra, and Cannonball Adderley's band, while he acquainted himself with the avantgarde musician Frank Zappa. Duke appeared on a number of Frank Zappa's albums in the early and mid-1970s, including Chunga's Revenge, 200 Motels, Waka/Jawaka, The Grand Wazoo, Apostrophe, Over-Nite Sensation, One Size Fits All, Bongo Fury and Roxy & Elsewhere.
Duke's other high-profile collaborators include Jean-Luc Ponty, Stanley Clarke, Billy Cobham,[citation needed] Cannonball Adderley, his cousin Dianne Reeves, Deniece Williams, Jeffrey Osborne, George Clinton, Anita Baker, Regina Belle, Rachelle Ferrell, Marilyn Scott and Mike Mainieri's jazz fusion group Steps Ahead, for whom he produced the track "Magnetic Love." Duke played on Herb Ellis' album, Soft Shoe (Concord, 1974) with Harry Sweets Edison; Duke played the piano and organ.
He also served as a record producer and composer on two instrumental tracks on Miles Davis albums: "Backyard Ritual" (from Tutu, 1986) and "Cobra" (from Amandla, 1989). He has also worked with a number of notable Brazilian musicians, including singer Milton Nascimento, percussionist Airto Moreira and singer Flora Purim. Sheila E appeared on Duke's late-1970s solo albums Don't Let Go and Master of the Game.
Duke had been fairly visible in the R&B world releasing funk-based songs like "Reach for It" and "Dukey Stick". In 1979 he traveled to Rio de Janeiro, where he recorded A Brazilian Love Affair. He employed singers Flora Purim and Milton Nascimento and percussionist Airto Moreira. The album featured some Latin jazz and jazz-influenced material. From a jazz standpoint, the album's most noteworthy songs include Nascimento's "Cravo e Canela," "Love Reborn," and "Up from the Sea It Arose and Ate Rio in One Swift Bite." In addition was "Brazilian Sugar" which was featured on the 2006 video game Dead or Alive Xtreme 2. Meanwhile, Nascimento's vocal on the ballad "Ao Que Vai Nascer" is an example of Brazilian pop at its most sensuous. This acclaimed album contained a wide variety of genres.
Duke has also worked as musical director at numerous large-scale musical events, including the Nelson Mandela tribute concert at Wembley Stadium, London in 1988. In 1989, he temporarily replaced Marcus Miller as musical director of NBC's acclaimed late-night music performance program Sunday Night during its first season.[4] Duke was also a judge for the 2nd annual Independent Music Awards to support independent artists' careers.
"No Rhyme or No Reason" can be heard during the period of time designated as Quiet Storm.
Duke's songs have been used by a wide variety of contemporary musicians in a wide array of genres. These include: "I Love You More", sampled by house music-act Daft Punk for their hit "Digital Love"; "Guilty", sampled by electronica music artist Mylo in his song "Guilty of Love" on Destroy Rock & Roll. . . "
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". . . Nathaniel Adderley (November 25, 1931 – January 2, 2000) was an American jazz cornet and trumpet player who played in the hard bop and soul jazz genres. He was the brother of saxophonist Julian "Cannonball" Adderley.
Adderley was born in Tampa, Florida, but moved to Tallahassee, Florida, when both parents were hired to teach at Florida A&M University. He and Cannonball played with Ray Charles in the early 1940s in Tallahassee. In the 1950s Nat Adderley worked with his brother's original group, with Lionel Hampton, and with J. J. Johnson, then in 1959 joined his brother's new quintet and stayed with it until Cannonball's death in 1975. He composed "Work Song," "Jive Samba," and "The Old Country" for this group.
After his brother's death he led his own groups and recorded extensively. During this period he worked with, among others, Ron Carter, Sonny Fortune, Johnny Griffin, Antonio Hart, and Vincent Herring.
He also helped in the founding and development of the annual Child of the Sun Jazz Festival, held annually at Florida Southern College in Lakeland, Florida.
Upon his death as a result of complications from diabetes, aged 68, in Lakeland, Florida, in January 2000, Adderley was interred near his brother in the Southside Cemetery in Tallahassee, Florida. His son, Nat Adderley, Jr. a keyboardist, was Luther Vandross's long-time musical director. . ."
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Julian Edwin "Cannonball" Adderley (September 15, 1928 – August 8, 1975) was a jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Originally from Tampa, Florida, Adderley moved to New York in the mid-1950s. His nickname derived originally from "cannibal," an honorific title imposed on him by high school colleagues as a tribute to his fast eating capacity.
His educational career was long established prior to teaching applied instrumental music classes at Dillard High School in Fort Lauderdale, Florida. Cannonball moved to Tallahassee, Florida 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 the early 1940s.[ Cannonball was a local legend in Florida until he moved to New York City in 1955, where he lived in Corona, Queens.
By the end of 1960s, Adderley's playing began to reflect the influence of the electric jazz avant-garde, and Miles Davis' experiments on the album Bitches Brew. On his albums from this period, such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970), he began doubling on soprano saxophone, showing the influence of John Coltrane and Wayne Shorter.[citation needed] 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.[citation needed] In 1975 he also appeared (in an acting role alongside Jose Feliciano and David Carradine) in the episode "Battle Hymn" in the third season of the TV series Kung Fu.
Joe Zawinul's composition "Cannon Ball" (recorded on Weather Report's album Black Market) is a tribute to his former leader.[3] Pepper Adams and George Mraz dedicated the composition "Julian" on the 1975 Pepper Adams album (also called "Julian") days after Cannonball's death.
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 the charts.
Adderley was initiated as an honorary member of Phi Mu Alpha Sinfonia fraternity (Gamma Theta chapter, University of North Texas, '60, & Xi Omega chapter, Frostburg State University, '70) and Alpha Phi Alpha (Beta Nu chapter, Florida A&M University).
Adderley died of a stroke in 1975. He was buried in the Southside Cemetery, Tallahassee, Florida. Later that year he was inducted into the Down Beat Jazz Hall of Fame. . ."
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