...The new quintet (which later became the Cannonball Adderley Sextet), and Cannonball's other combos and groups, included such noted musicians as: *pianists Bobby Timmons, Victor Feldman, Joe Zawinul (later of Weather Report), and George Duke *bassists Sam Jones, Walter Booker and Victor Gaskin *drummers Louis Hayes and Roy McCurdy *saxophonists Charles Lloyd and Yusef Lateef....

...Lateef also made numerous contributions to other people's albums including his time as a member of Cannonball Adderley's Quintet from 1962-64....

...The new quintet (which later became the Cannonball Adderley Sextet), and Cannonball's other combos and groups, included such noted musicians as: *pianists Bobby Timmons, Victor Feldman, Joe Zawinul (later of Weather Report), and George Duke *bassists Sam Jones, Walter Booker and Victor Gaskin *drummers Louis Hayes and Roy McCurdy *saxophonists Charles Lloyd and Yusef Lateef...

...First coming to prominence with saxophonist Cannonball Adderley, Zawinul went on to play with trumpeter Miles Davis, and to become one of the earliest musicians to play jazz fusion, which blended jazz with rock and roll...

...;as a producer * Wide Open Spaces (1960) - David Newman * A Portrait of Thelonious (1961) - Bud Powell * Don Byas & Bud Powell - Tribute To Cannonball'' (1961)

...Rolling Stones founder Brian Jones named both of his sons Julian, allegedly in honor of Adderley.

;As a leader * Julian Cannonball Adderley and Strings (1955) * Jump For Joy (1957) * Portrait of Cannonball (1958) * Somethin' Else (1958) - with Miles Davis, Hank Jones, Sam Jones, Art Blakey * Things Are Getting Better (1958) * Cannonball Adderley Quintet in Chicago (1959) - with John Coltrane * Quintet in San Francisco (1959) * Cannonball and Coltrane (1959) * At the Lighthouse (1960) * Them Dirty Blues (1960) * Know What I Mean? (1961) - with Bill Evans * African Waltz (1961) * The Quintet Plus (1961) * Nancy Wilson/Cannonball Adderley (1961) * In New York (1962) * Cannonball's Bossa Nova (1962) * Jazz Workshop Revisited (1963) * Nippon Soul (1963) * Fiddler on the Roof (1964) * Domination (1965) - Orchestrated and arranged by Oliver Nelson * Mercy, Mercy, Mercy! Live at 'The Club' (1966) * Cannonball in Japan (1966) * Why Am I Treated So Bad! (1967) * 74 Miles Away (1967) * Radio Nights (1967) * Accent On Africa (1968) * Country Preacher (1969) * The Price You Got to Pay to Be Free (1970) * The Black Messiah (Live) (1972) * Inside Straight (1973) * Pyramid (1974) * Phenix (1975) * Big Man (1975) (Musical with Joe Williams and Randy Crawford)...

...Up to the 1960s Blakey also recorded as a sideman with many other musicians: Jimmy Smith, Herbie Nichols, Cannonball Adderley, Miles Davis, Grant Green, and Jazz Messengers graduates Lee Morgan and Hank Mobley, amongst many others...

;As a leader * Julian Cannonball Adderley and Strings (1955) * Jump For Joy (1957) * Portrait of Cannonball (1958) * Somethin' Else (1958) - with Miles Davis, Hank Jones, Sam Jones, Art Blakey * Things Are Getting Better (1958) * Cannonball Adderley Quintet in Chicago (1959) - with John Coltrane * Quintet in San Francisco (1959) * Cannonball and Coltrane (1959) * At the Lighthouse (1960) * Them Dirty Blues (1960) * Know What I Mean? (1961) - with Bill Evans * African Waltz (1961) * The Quintet Plus (1961) * Nancy Wilson/Cannonball Adderley (1961) * In New York (1962) * Cannonball's Bossa Nova (1962) * Jazz Workshop Revisited (1963) * Nippon Soul (1963) * Fiddler on the Roof (1964) * Domination (1965) - Orchestrated and arranged by Oliver Nelson * Mercy, Mercy, Mercy! Live at 'The Club' (1966) * Cannonball in Japan (1966) * Why Am I Treated So Bad! (1967) * 74 Miles Away (1967) * Radio Nights (1967) * Accent On Africa (1968) * Country Preacher (1969) * The Price You Got to Pay to Be Free (1970) * The Black Messiah (Live) (1972) * Inside Straight (1973) * Pyramid (1974) * Phenix (1975) * Big Man (1975) (Musical with Joe Williams and Randy Crawford)...

...After several years as a freelance player, which included engagements with Artie Shaw and Benny Goodman, and recordings with such artists as Lester Young, Milt Jackson and John Coltrane on their Bags & Trane, Cannonball Adderley, and Wes Montgomery. From 1959 through 1975 Jones was staff pianist for CBS studios. This included backing such guests as Frank Sinatra on “The Ed Sullivan Show.” With his rare combination of talents as a strong soloist, sensitive accompanist, and adept sight-reader, Jones has always been in great demand for recording sessions of all kinds, and may be heard on thousands of albums...

;As a leader * Julian Cannonball Adderley and Strings (1955) * Jump For Joy (1957) * Portrait of Cannonball (1958) * Somethin' Else (1958) - with Miles Davis, Hank Jones, Sam Jones, Art Blakey * Things Are Getting Better (1958) * Cannonball Adderley Quintet in Chicago (1959) - with John Coltrane * Quintet in San Francisco (1959) * Cannonball and Coltrane (1959) * At the Lighthouse (1960) * Them Dirty Blues (1960) * Know What I Mean? (1961) - with Bill Evans * African Waltz (1961) * The Quintet Plus (1961) * Nancy Wilson/Cannonball Adderley (1961) * In New York (1962) * Cannonball's Bossa Nova (1962) * Jazz Workshop Revisited (1963) * Nippon Soul (1963) * Fiddler on the Roof (1964) * Domination (1965) - Orchestrated and arranged by Oliver Nelson * Mercy, Mercy, Mercy! Live at 'The Club' (1966) * Cannonball in Japan (1966) * Why Am I Treated So Bad! (1967) * 74 Miles Away (1967) * Radio Nights (1967) * Accent On Africa (1968) * Country Preacher (1969) * The Price You Got to Pay to Be Free (1970) * The Black Messiah (Live) (1972) * Inside Straight (1973) * Pyramid (1974) * Phenix (1975) * Big Man (1975) (Musical with Joe Williams and Randy Crawford)...

Crawford first polished her craft at club gigs from Cincinnati to Saint-Tropez, but made her name in mid 1970s in New York, where she sang with jazzmen George Benson and Cannonball Adderley. Along the way she has rubbed elbows with Bootsy Collins, Johnny Bristol, Quincy Jones, Al Jarreau and others...

...He joined the Miles Davis sextet in 1957, around the time that John Coltrane left the group to join Thelonious Monk's band. (Coltrane would return to Davis's group in 1958)...

...His playing was compressed, as if whole solos passed in a few seconds, with rapid runs cascading in hundreds of notes per minute. He stayed with Davis until April 1960, working with, in due course, alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb...

...You couldn't put your finger on it, but it was there in his playing every night." This period also overlapped with pianist Bill Evans's time with the sextet, an association that led to recording Portrait of Cannonball and Know What I Mean?.

...;as a producer * Wide Open Spaces (1960) - David Newman * A Portrait of Thelonious (1961) - Bud Powell * Don Byas & Bud Powell - Tribute To Cannonball'' (1961)

...Buttercup was keeping control of his finances and also over-dosing him with Largactil, but he continued to perform and record — the 1960 live recording of the Essen jazz festival performance (with Clarke, Oscar Pettiford and on some numbers Coleman Hawkins) is particularly notable. In December 1961 he recorded two albums for Columbia Records under the aegis of Cannonball Adderley - A Portrait of Thelonious (with Michelot and Clarke), and A Tribute to Cannonball (with the addition of Don Byas and Idrees Sulieman — despite the title, Adderley only plays on one alternate take)...

...Olatunji recorded with many other prominent musicians, including Cannonball Adderley (on his African Waltz album), Horace Silver, Quincy Jones, Pee Wee Ellis, Stevie Wonder, Randy Weston, and with Max Roach and Abbey Lincoln on the pivotal Freedom Now Suite aka We Insist, and with Grateful Dead member Mickey Hart on his Grammy winning Planet Drum projects...

...Another key example of her improvisational skills and rhythmic surety is her cover of "Them There Eyes" with Canadian jazz pianist Oscar Peterson; the song is laid out at a furiously fast tempo, but O'Day pushes the lyrics out at full speed for one chorus, scats another at a Cannonball Adderley pace, then playfully paraphrases the lyrics at half-tempo for her last chorus. O'Day's song interpretations typically reflected a sly, playful sensibility (see, for example, her cover of "An Occasional Man" with Cal Tjader's band, a much more sex-kittenish interpretation than that of Peggy Lee, among others)...

...Other musical influences include: Jimi Hendrix, Duke Ellington, Charlie Parker, Paul Hindemith, Frank Sinatra, Tony Bennett, The Band, Santana, Frank Zappa, Bob Marley, Tommy Cogbill, Ray Charles, Charles Mingus, John Coltrane, Otis Redding, James T. Doggington, Cannonball Adderley and Jerry Jemmott. According to Bill Milkowski's biography "Jaco: The extraordinary and tragic life of Jaco Pastorius" he was also heavily influenced by Johann Sebastian Bach...

...Also of note, was the album's sample material, largely based around jazzy loops and snippets from artists such as Cannonball Adderley, Roy Ayers, Rotary Connection, and Les McCann. Through these samples, the group employs the use of horns, rhodes, bass guitar and vibes, giving the album a distinctively ethereal feel...

...To support his family of eight, Montgomery worked in a factory from 7:00 am to 3:00 pm, then performed in local clubs from 9:00 pm to 2:00 am. Cannonball Adderley heard Montgomery in an Indianapolis club and was floored. He helped sign Montgomery to a recording contract and recorded with him on his Pollwinners album...

...Over the years up to 2005, Newman has recorded over thirty-five albums under his own name, including his first, Ray Charles-Presenting David "Fathead" Newman (1959) and second, Wide Open Spaces, which was produced by Cannonball Adderley, the following year. Always a musicians' musician, Newman is best known for his hard bop style that has influenced whole generations of saxophone players of different genres...

...The album features such jazz and fusion luminaries as saxophonists Wayne Shorter, Pete Christlieb and Tom Scott, drummer Steve Gadd and ex-Cannonball Adderley pianist/vibist Victor Feldman. It also featured Becker's trademark clean, jazzy guitar leads as a prominent solo voice where they had only appeared sporadically in prior releases...

Mendes formed the Sexteto Bossa Rio and recorded Dance Moderno in 1961. Touring Europe and the United States, Mendes recorded albums with Cannonball Adderley and Herbie Mann and played Carnegie Hall. Mendes moved to the U.S. in 1964 and cut two albums under the Brasil '65 group name with Capitol Records and Atlantic Records...

...Blues", which is probably the most notable of the 5 tunes named for him. He recorded with many other important musicians, including Cannonball Adderley, Donald Byrd, Sonny Rollins, Freddie Hubbard, Jackie McLean, Hank Mobley, and Bud Powell, Bill Evans, Walter Benton, Herbie Hancock, Blue Mitchell, Curtis Fuller, Benny Golson, Kenny Dorham, Yusef Lateef, Lee Morgan, Art Blakey, Roy Haynes, Hampton Hawes, Wayne Shorter, Paul Quinichette, Philly Joe Jones, Wes Montgomery, Ike Quebec, Stanley Turrentine, Grant Green, Zoot Sims, Johnny Griffin, Nat Adderley, Horace Silver, Hank Jones, Abbey Lincoln, Lorez Alexandria as well as recording as a leader.

...Once graduated, he quickly acquired a reputation as the pre-eminent bop saxophonist of the day; although he did not copy Charlie "Bird" Parker, bop's greatest saxophonist, he was known as the New Bird, a label which was also attached to other alto players such as Sonny Stitt and Cannonball Adderley at one time or another in their careers....