Cannonball. . .

(from wikipedia.com)
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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The roar . . .

. . . of the Lyons. . .

Jimmy Lyons alto saxophone player best known for his long tenure in the Cecil Taylor Unit, being the only constant member of the pianist's group from the mid-1960s to his death, after which Taylor never worked with another musician as frequently. Lyons's playing, which usually retained a strong influence from bebop pioneer Charlie Parker, helped keep Tayor's often wildly avant garde music tethered to the jazz tradition.

He was born in Jersey City, New Jersey and brought up firstly there for his first 9 years, before his mother moved the family to Harlem and then the Bronx. He obtained his first saxophone in the mid-1940s and had lessons from Buster Bailey.

After high school, Lyons was drafted into the United States Army and spent 21 months on infantry duty in Korea, before spending around a year playing in army bands. On discharge, he attended New York University. By the end of the 1950s he was supporting his interest in music with day jobs in the Postal Service.

In 1961 he followed Archie Shepp into the saxophone role in the Cecil Taylor Unit. His post-Parker sound and strong melodic sense became a defining part of the sound of that group, from the classic 1962 Cafe Montmartre sessions onwards.

During the 1970s Lyons also ran his own group with bassoonist Karen Borca and percussionist Paul Murphy, taking performance opportunities at the loft jazz movement around Studio Rivbea. His group and the Unit continued a parallel development through the 1970s and 1980s, often involving the same musicians, such as trumpeter Raphe Malik, bassist William Parker and percussionist Paul Murphy.

Lyons died from lung cancer in 1986. The recording legacy of his own group was relatively sparse, though that situation has been rectified by a 5 CD boxed set of archive recordings from 1972 to 1985, released on Ayler Records.  (from wikipedia.com)

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