Of the great saxophonists of 1950s and 60s, one of the best—if historically under-rated—was altoist Julian “Cannonball” Adderley. With a soulful sound born from his southern gospel roots, Cannonball’s career exploded in the late 50s when he joined Miles Davis’ sextet, progressing to his own bands with brother cornetist Nat and pianist Bobby Timmons. His exuberant hard bop resulted in many acclaimed Blue Note and Riverside recordings, but his later, commercial work on Capitol--for better or worse—has been more associated with the soul music movement than serious jazz. As a result, Cannonball Adderley has been relatively underappreciated by most jazz historians. Says his old Riverside producer, Orrin Keepnews, “his work is considered relatively invalid because it’s popular…An awful lot of the soul music nonsense of that period was rightly or wrongly attributed to him and his success… There is continuous evidence of musical intelligence and sensitivity in his work. He is one of the most impressive ballad players. He was never in any danger of being swallowed by that soul stuff.”

Although compared to Charlie Parker early in his career, Cannonball Adderley had his own style. Said altoist Donald Harrison, “Each note was an entity all to itself, meaning that he put something special on each note…”

Drummer Louis Hayes is a most appropriate bandleader to mount a tribute to Cannonball, having managed the drum chair for the popular altoist during the great bands of the late 50s and 60s. Now 67, Hayes’current project celebrates the legend of Cannonball Adderley, and features some of the hottest young jazzmen on the planet—trumpet wiz Jeremy Pelt, celestial pianist Rick Germanson, versatile bassist Gerald Cannon, and in the Cannonball chair, alto sax lion Vincent Herring. Look for red-hot double sets when the Cannonball Legacy Band hits the Dakota stage in Minneapolis, November 8-9 before traveling to New Jersey for the Cape May Jazz Festival, November 13^th.

Louis Hayes has been keeping time with jazz legends since he was a teenager in Detroit. From his earliest days with Yusef Lateef to his tenure with Horace Silver, Cannonball Adderley, and Oscar Peterson, Hayes has made countless recordings in the company of such legends as John Coltrane, Sonny Rollins, Dexter Gordon, Joe Henderson, and McCoy Tyner. His own bands have consistently featured his “crisply swinging ride cymbal beat, downhill momentum and hipster's wit” (Detroit Free Press). “Hayes has developed a playing style which is simultaneously subtle and hard driving. His sizzling accompaniment has enhanced some fine hard bop albums and his enthusiasm regularly brings out the best in his front line companions” (Kahilu Theater website). (For more information on Louis Hayes, including other projects, see http://louishayes.com)

Vincent Herring played sax at West Point in the U.S. Military Band. Dubbed a “Young Lion” in the early 80s, he toured with the Lionel Hampton Band before his big break with Nat Adderley's band, displaying a style in the vein of Nat’s brother, Cannonball. Notes International Jazz Productions, “Vincent has developed into a virtuoso with a voice that is uniquely intense and vigorous with the energy and direction.” Regarding his place in the Cannonball chair with the Legacy Band, Jazz Times (November 2002) noted that he has “formidable technique and the appropriately aggressive attitude to put it over. Like Adderley, Herring tells a story when he plays, quotes other songs in his solos…and always plays hip turnarounds at the ends of his phrases.” (For more information on Vincent Herring, see www.vincentherring.com)

Still in his 20s, Jeremy Pelt studied jazz and film scoring at Berkelee in Boston before moving to New York. Currently touring with the Mingus Big Band as well as the Cannonball Adderley Legacy Band, Pelt was tapped as a “Rising Star” in the 2003 Down Beat Annual Critics Poll and is “arguably the most important new trumpet talent to emerge since Roy Hargrove and Nicholas Payton” (Tony Hall, Jazzwise). (For more on Jeremy Pelt, see www.peltjazz.com)

Pianist Rick Germanson, winner of the 1996 Grand Prize in the American Pianist Association Jazz Piano Competition, has toured with Elvin Jones, Jimmy Cobb, Wynton Marsalis, Slide Hampton, the Mingus Big Band, and, of course, the Cannonball Adderley Legacy Band. At St. Paul’s Artists Quarter last month, Germanson treated the audience to what Jazz Times described as his “tons of technique, taste and a clarity of right-hand runs, an appreciation for complex rhythms and a love for Latin.”

Appropriately, this band features another “Cannon” on bass, Wisconsin native Gerald Cannon. Best known for his fearless and solid groove, and long stints with trumpet lion Roy Hargrove and legendary drummer Elvin Jones’ Jazz Machine, Cannon was inspired early on by the great Milt Hinton. He cut his teeth on the bandstands of Milwaukee before joining the house band at the Blue Note in New York and moving on to the drum chair in Art Blakey’s Jazz Messengers, as well as the bands of Cedar Walton and Dexter Gordon. His recording credits include Wynton Marsalis, Russell Malone, Kenny Barron, and Nicholas Payton.

Upcoming appearances of the Cannonball Adderley Legacy Band:

November 8-9, Minneapolis (Dakota), www.dakotacooks.com

November 13, Cape May (NJ) Jazz Festival, http://capemayjazz.org

January 2005, tours throughout Hawaii