Yeah!! . . .

. . . Go Andrew . . .

(from http://www.capitalbop.com/musician-profile-andrew-white-keeper-of-the-trane-is-a-living-legend-unknown-to-many/)
". . . Over the course of the twentieth century, D.C. was home to many significant jazz musicians, including such luminaries as Duke Ellington, Shirley Horn, and Jelly Roll Morton. But there’s one D.C. jazz figure who is the ultimate Renaissance man: a saxophonist and multi-instrumentalist who has been performing and recording here for 50 years; a collaborator who has played with countless jazz greats and soul artists; a scholar who is known as “Keeper of the Trane” for his meticulous transcriptions of 650 John Coltrane solos (virtually every one on record); and a producer who has released thousands of products, from recordings to transcriptions to books.

One would think that with all these accomplishments, this person would be the darling of D.C.’s music community, a poster child for jazz’s greatness in the nation’s capital. But for one reason or another, this has never happened.

Andrew White began his career as the leader of an innovative quintet on one of the world’s top jazz labels, then went on to record with McCoy Tyner and Weather Report and toured with Stevie Wonder. Nowadays, the 68-year-old seems destined to fade into obscurity.

A possible reason why White hasn’t been as celebrated as certain other D.C. musicians is his refusal to compromise with the music industry. In an age when so-called DIY music production and promotion were unheard of, he founded his own label, Andrew’s Music. From there, he recorded, produced, pressed and disseminated his own records – more than 40 in all. He also used the label as a vehicle for publishing his writing, which has ranged from essays and “treatises” on music and life to adult fiction to an 850-plus-page autobiography.

With the possible exception of Sun Ra’s El Saturn label, Andrew’s Music is the longest-lasting self-run, self-produced jazz record label in the world. . . "

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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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