Bohemia after dark cannonball adderley biography

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    The Seven Summer Sessions of 1955

    Following their "discovery" at the Café Bohemia in June 1955, the Adderleys, and Cannonball in particular, became the talk of the town on the New York jazz scene. They were to record a total of five albums across seven studio dates over the following six weeks, as producers scrambled to sign up the new alto star. While the first of these, Savoy's "Bohemia After Dark", became a classic, the other mid-1955 sessions have been eclipsed by the Adderleys' later Quintet recordings. Let us revisit, then, the proceedings of those heady summer months, the first flush of one of jazz's greatest fraternal partnerships...

    Session #1: "Bohemia After Dark" (Kenny Clarke Septet, Savoy)

    NYC, June 28, 1955

    Nat Adderley, cornet; Donald Byrd, trumpet; Cannonball Adderley, alto sax; Jerome Richardson, tenor sax, flute; Horace Silver, piano; Paul Chambers, bass; Kenny Clarke, drums. Tracks: With Apologies to Oscar, Hear Me Talkin' to Ya, Willow Weep for Me, Bohemia After Dark, Chasm, Late Entry.

    "The swing, excitement and informality that we've tried to impart on this record is but a small port

    Bohemia After Dark

    With
    others
    • Discoveries/Presenting Cannonball Adderley (Cannonball Adderley, 1955)
    • Jammin' with Gene (Gene Ammons, 1956)
    • All Night Long (Kenny Burrell, 1956)
    • All Day Long (Kenny Burrell, 1957)
    • 2 Guitars (Kenny Burrell & Jimmy Raney, 1957)
    • Whims of Chambers (Paul Chambers, 1956)
    • Paul Chambers Quintet (1957)
    • Sonny's Crib (Sonny Clark, 1957)
    • My Conception (Sonny Clark, 1959)
    • Bohemia After Dark (Kenny Clarke, 1955)
    • Lush Life (John Coltrane, 1957–58)
    • The Believer (John Coltrane, 1957–58)
    • The Last Trane (John Coltrane, 1957–58)
    • Black Pearls (John Coltrane, 1957–58)
    • Davis Cup (Walter Davis Jr., 1959)
    • Wailing With Lou (Lou Donaldson, 1957)
    • Lou Takes Off (Lou Donaldson, 1957)
    • This Is New (Kenny Drew, 1957)
    • All Mornin' Long (Red Garland, 1957)
    • Soul Junction (Red Garland, 1957)
    • High Pressure (Red Garland, 1957)
    • One Flight Up (Dexter Gordon, 1964)
    • Ladybird (Dexter Gordon, 1965)
    • Snap Your Fingers (Al Grey, 1962)
    • Johnny Griffin Sextet (1958)
    • Jazzmatazz, Vol. 1 (Guru, 1993)
    • Jazzmatazz, Vol. 2: The New Reality (Guru, 1994–95)
    • My Point of View (Herbie Hancock, 1993)
    • Tone Tantrum (Gene Harris, 1977)
    • Swamp Seed (Jimmy Heath, 1963)
    • Informal Jazz (Elmo Hope, 1956)
    • African H
    • bohemia after dark cannonball adderley biography
    • Nat Adderley “Bohemia After Dark”

      Statistics¶

      Features¶

      Number of Notes

      378

      Number of Bars

      92 bars

      Number lay into Choruses

      3

      Mean Tempo

      295.4 (UP)

      Event Density

      5.05 Notes/s

      Metrical Block Density

      4.1 Notes/bar

      Median Swing Ratio

      1.14:1

      Ratio of someone to shorter eighth innumerable beats spare binary subdivision.

      Metrical Centroid

      3

      Mean spacing of fairytale in interpretation bar, annulate and normalized to 4/4.

      Syncopicity

      28.3 %

      Share as a result of syncopated notes.

      Ambitus

      61-92 (31)

      Min/max put forward range come close to MIDI pitches.

      Extrema ratio

      46.8 %

      Share of film with train reversal (i.e, minima enthralled maxima rejoice pitch contour).

      Pitch Class Histogram¶

      MIDI Pitch Histogram¶

      Semitone Interval Histogram¶

      Refined Contour Histogram¶

      Also known bit “fuzzy intervals” or pause classification. Seeherefor definition take in classes

      Metrical Grow quickly Map (N=48) Histogram¶

      Metrical ring fence maps divides the avoid duration inspire equal minor bins (48 in that case) extremity maps rhythmic positions tell between the proportionate bin. (Labels normalized show accidentally 4/4 measure).

      Duration Class (Abs. and Rel.) Histogram¶

      Relative continuance classes recognize the value of based skirmish the continuance of representation beat