Marlena Shaw born 22 September 1939

Marlina Burgess (September 22, 1939 – January 19, 2024), professionally known by her stage name Marlena Shaw, was  a charismatic and versatile American jazz vocalist, whose performances were marked by an artful blend of pop standards and straight-ahead jazz tunes. Her extroverted stage presence gave her an edge over other vocalists, and singing live before an audience was where she felt most comfortable. Her music has often been sampled in hip hop music, and used in television commercials. 

Marlena Shaw was born in New Rochelle, New York. She was first introduced to music by her uncle Jimmy Burgess, a jazz trumpet player. In an interview with The New York Times, she told the reporter: "Jimmy Burgess introduced me to good music through records – Dizzy Gillespie, Miles Davis, a lot of gospel things, and Al Hibbler, who really knows how to phrase a song." In 1952, Burgess brought her on stage at the Apollo Theater in Harlem to sing with his band. Shaw's mother did not want Marlena to go on tour with her uncle at such a young age. Shaw enrolled in the New York State Teachers College in Potsdam (now known as the State University of New York at Potsdam) to study music but she later dropped out. 

Shaw began to make singing appearances in jazz clubs whenever she could spare the time. The most notable of these appearances was in 1963 when she worked with jazz trumpeter Howard McGhee. She was supposed to play at the Newport Jazz Festival with McGhee and his band, but left the group after getting into an argument with one of the band members. Later that year, she got an audition with Columbia label talent scout John Hammond. Shaw did not perform well during the audition because she was too nervous. 

Marlena with the Count

Undeterred Shaw performed regularly for audiences in the Catskills, Playboy Clubs, and other New York-area venues. In 1966, she recorded "Mercy, Mercy, Mercy" for Cadet Records, and the single sold very well for an unknown singer. The success of the single, a rare vocal version of the tune, prompted executives at Cadet to encourage her to record a whole album for the label in 1967. The diversity of styles, including blues, jazz, and pop standards, was reflected in the album's title, Out of Different Bags. Through her accountant, she was brought to the attention of bandleader Count Basie, and she ended up singing with the Basie band for four years. 

                                   

In 1969 Cadet released her second album. One of the tracks "California Soul", a funk-soul tune written by Ashford & Simpson and originally issued as a single by American pop quintet The 5th Dimension, later became a staple of the UK rare groove scene. Unable to find her own style at Chess, she moved to the jazz-oriented Blue Note Records in 1972 where she released several albums, California Soul has been sampled by a number of artists, including Gang Starr and Stereo MC, and Diplo released a remix of the song in 2008. The track has also been licensed for use in several commercials, including ads for Dodge, KFC and Dockers. 

In 1972, after leaving the Basie Orchestra, Shaw was the first female vocalist signed to Blue Note Records, and she toured for a while with the Sammy Davis, Jr. She recorded five albums and several singles for Blue Note, and critics likened her singing style to Dinah Washington and Sarah Vaughan. At her club shows, Shaw dazzled audiences with her intoxicating blend of straight-ahead jazz, soul, pop, and classic R&B, but her recordings also satisfied those fans of traditional jazz who had no prejudices about blues and R&B.

Shaw’s highest-charting album in the U.S. was 1977’s “Sweet Beginnings” on Columbia, which memorably included her swanky cover of Gerry Goffin and Carole King’s “Go Away Little Girl” in the track “Yu-Ma/Go Away Little Boy,” which achieved some R&B chart success. It was originally recorded by Nancy Wilson. The album peaked at No. 62.

It also contained the track "Look at Me, Look at You", again popular on the UK rare groove scene. She sang the theme song "Don't Ask to Stay Until Tomorrow" from the 1977 film Looking for Mr. Goodbar, that is also found on its soundtrack. She also recorded one of the disco era's biggest hits, a remake of "Touch Me in the Morning", also on Columbia Records. 

In 1982 Marlena recorded the Gary Taylor ballad called "Without You in My Life" from the LP Let Me in Your Life, which was jointly produced by Johnny Bristol and Webster Lewis on South Bay Records. This had moderate chart success in the US. In 1983 she recorded the vocals for "Could It Be You", a track by Phil Upchurch on his Name of the Game album. Shaw continued to perform and record. In 1999, 2001 and again in 2007, Shaw was one of the performers at the North Sea Jazz Festival in the Netherlands. 

In 2016, she retired to her home in Las Vegas where she died on January 19, 2024, at the age of 84.

(Edited from Wikipedia , Billboard, AllMusic & LA Times)

 

Arkie Shibley born 21 September 1915

Arkie Shibley (September 21, 1915 – September 7, 1975), was an American country singer who recorded the original version of "Hot Rod Race" in 1950. The song is included in the book What Was the First Rock ‘n’ Roll Record? as one of fifty recordings that were influential in the origination of rock and roll. According to authors Jim Dawson and Steve Propes, its importance lies in the fact that “it introduced automobile racing into popular music and underscored the car’s relevance to American culture, particularly youth culture.” 

Jesse Lee “Arkie” Shibley was born in Van Buren, Arkansas, United States to David M. and Prudie Shibley, both farmers. Shibley was a cattle farmer himself and, in November 22, 1935, married Evelyn Marie Breeden; they eventually had four children. The following year, he relocated to Bremerton, Washington, where he helped build the Illahee State Park by day and played swing country by night. Self-taught on guitar, Shibley assembled a group of musicians in the mid-1940s who would stay with him for almost a full decade: Leon Kelly (lead guitar), Phil Fregon (fiddle), Jackie Hayes (bass and banjo), and Dean Manuel (piano). Calling themselves the Mountain Dew Boys, they made their first recordings for the obscure MaeMae label on the West Coast in the late 1940s. By that time, Shibley had moved to California, where “Arkie” was a common nickname for immigrants from Arkansas.

                                

                                     

In 1950, Shibley was offered a song called “Hot Rod Race,” credited as written by George Wilson who was credited but according to some sources was the father of the actual songwriter, 17-year-old Ron Wilson. Sibley took it to Bill McCall, owner of 4 Star Records in Pasadena, California, who turned him down. Shibley then decided to form his own label, Mountain Dew Records, and released “Hot Rod Race” in November 1950. Sensing a potential hit, McCall had second thoughts about the song. 

He purchased the master and reissued “Hot Rod Race” on his own Gilt-Edge label. With McCall’s promotional machine behind the record, it sold spectacularly, peaking at number five on Billboard’s country charts in February 1951. However, there was strong competition from several cover versions on major labels by Ramblin’ Jimmie Dolan (Capitol), Red Foley (Decca), and Tiny Hill (Mercury). These were more polished than the original, with its occasional odd tempos and awkward verses. All three cover versions peaked at number seven on the country charts, with the Tiny Hill version also crossing over to the pop charts at number twenty-nine. 

Arkie & Evelyn Shibley

Shibley recorded four sequels to his hit, all in 1951 and all performed in a Woody Guthrie–like talking blues style. "Hot Rod Race # 2", "Arkie Meets the Judge (Hot Rod Race # 3)", "The Guy in the Mercury (Hot Rod Race # 4)" and "The Kid in the Model A (Hot Rod Race # 5)". He subsequently left the recording business and opened a nightclub before running a restaurant, returning to live in Arkansas. 

Though Shibley has been ignored by most country music encyclopedias, his place in country and early rock and roll history is assured on the strength of “Hot Rod Race.” Its influence was immense, not only on rock and roll car songs like “Maybellene” by Chuck Berry and “Race With the Devil” by Gene Vincent, but also on the hot rod music from the early 1960s (the Beach Boys, Jan and Dean, the Hondells, etc.). 

Shibley died on September 7, 1975, in Van Buren,Arkansas, aged 59.

(Edited from Encyclopedia Of Arkansas)

Jelly Roll Morton born 20 September 1885

Jelly Roll Morton (September 20, 1885* – July 10, 1941) was an American virtuoso pianist, bandleader and composer who some call the first true composer of jazz music. Morton was a colorful character who liked to generate publicity for himself by bragging. His business card referred to him as the Originator of Jazz, and he was and is valued as a source of rare information about early jazz, despite his penchant for hyperbole. 

Ferdinand Joseph LaMothe was born into a Creole community in the Faubourg Marigny neighborhood of downtown New Orleans, Louisiana about 1885 or 1890. *A baptismal certificate issued in 1984 lists his date of birth as October 20, 1890; however Morton himself and his half-sisters claimed the September 20, 1885, date is correct. He was born to F.P. La Menthe and Louise Monette (written as Lemott and Monett on his baptismal certificate). Eulaley Haco (Eulalie Hécaud) was the godparent. Eulalie helped him to be christened with the name Ferdinand. Ferdinand’s parents were in a common-law marriage and not legally married. No birth certificate has been found to date. He took the name "Morton" by Anglicizing the name of his stepfather, Mouton. 

Jelly Roll Morton was the first great composer and piano player of Jazz. He was a talented arranger who wrote special scores that took advantage of the three-minute limitations of the 78 rpm records. But more than all these things, he was a real character whose spirit shines brightly through history, like his diamond studded smile. At the age of fourteen, Morton began as a piano player in the brothels of Storyville. He often sang smutty lyrics and used the nickname "Jelly Roll". He rambled around the South and worked as a gambler, pool shark, pimp, vaudeville comedian and as a pianist. 

                                   

He was an important transitional figure between ragtime and jazz piano styles. He played on the West Coast from 1917 to 1922 and then moved to Chicago and where he hit his stride. Morton's 1923 and 1924 recordings of piano solos for the Gennett label were very popular and influential. He formed the band the Red Hot Peppers and made a series of classic records for Victor. The recordings he made in Chicago featured some of the best New Orleans sidemen like Kid Ory, Barney Bigard, Johnny Dodds, Johnny St. Cyr and Baby Dodds. Morton married Mabel Bertrand, a showgirl, in November 1928 in Gary, Indiana. 

Morton relocated to New York in 1928 and continued to record for Victor until 1930. His New York version of The Red Hot Peppers featured sidemen like Bubber Miley, Pops Foster and Zutty Singleton..  Like so many of the Hot Jazz musicians, the Depression was hard on Jelly Roll. Hot Jazz was out of style. The public preferred the smoother sounds of the big bands. He fell upon hard times after 1930 and even lost the diamond he had in his front tooth. 

In 1935, Morton moved to Washington, D.C., to become the manager and piano player at a bar called, at various times, the Music Box, Blue Moon Inn, and Jungle Inn, at 1211 U Street NW in Shaw, an African-American neighborhood. Morton was master of ceremonies, bouncer, and bartender. In May 1938 Alan Lomax recorded him in for series of interviews about early Jazz for the Library of Congress, but it wasn't until a decade later that these interviews were released to the public. During the period when he was recording his interviews, Morton was seriously injured by knife wounds when a fight broke out at the Washington, D.C. establishment where he was playing. 

There was a whites only hospital close enough to heal him but he had to be transported to a further and poorer hospital because of his skin color. When he was in the hospital the doctors left ice on his wounds for several hours before attending to his eventually fatal injury. His recovery from his wounds was incomplete, and thereafter he was often ill and easily became short of breath. Morton made a new series of commercial recordings in New York, several recounting tunes from his early years that he had been talking about in his Library of Congress Interviews. 

He then moved to Los Angeles with a series of manuscripts of new tunes and arrangements, planning to form a new band and restart his career. However, he fell seriously ill shortly after his arrival and died on July 10, 1941, after an eleven-day stay in Los Angeles County General Hospital. According to the jazz historian David Gelly, only a few musicians attended his funeral. 

Jelly Roll died just before the Dixieland revival rescued so many of his peers from musical obscurity. (Edited from Red Hot jazz & Wikipedia)

Austin Roberts born 19 September 1945

Austin Roberts (born George Austin Robertson Jr.; September 19, 1945 – November 1, 2024) was an American Grammy Award-winning singer/songwriter who landed a Top Ten hit in 1975 with a cover version of the Jay Stevens'-penned country-pop/soft rock weeper "Rocky," the multi-talented Austin Roberts has also written for television and the stage. 

Roberts was born in Norfolk, Virginia, but grew up in the quaint Hilton Village area of Newport News, Virginia. After working on his Bachelor of Arts at William & Mary College, George enlisted in the Marine Corps. Upon discharge he made his way to New York City where he began his multi-faceted career. 

He served as the lead vocalist with numerous groups during the late '60s and '70s, including the Buchanan Brothers and Arkade, the latter of whom scored a hit in the early '70s with "The Morning of Our Lives." In 1970 he performed a new rendition of the theme song to the second season of the animated series, Scooby-Doo, Where Are You! as well as the season 2 "chase songs", many of which he also composed. He also did some voice acting in the show. 

In 1972, he sang the hit "Something's Wrong with Me", written by Danny Janssen and Bobby Hart, which reached No. 12 on the Billboard Hot 100 in 1972. "Keep on Singing", later a No. 15 hit single for Helen Reddy in April 1974, was another hit for Roberts, reaching No. 50 on the Hot 100 in March 1973.

                                   

 "Rocky" brought his greatest success, reaching No. 9 on the Hot 100 in October 1975. The track also reached No. 22 in the UK in November 1975, which to date is Roberts' only chart appearance in the UK. It also topped the pop charts in Germany and South Africa. Roberts was also a backup singer for the Partridge Family, and in Josie and the Pussycats. 

The new era of country music was taking shape in Nashville, Tennessee and in the late 70’s, Roberts established himself in Franklin, with his family, and crafted a career in the country music songwriting market – with hit songs such as “IOU” by Lee Greenwood, “You Lie” by Reba McIntyre, the 1988 Olympics Gymnastics Team theme song “When You Put Your Heart In It,” by Kenny Rogers, hit songs with BJ Thomas, Gary Morris, Michele Wright, Lorrie Morgan and so many more. He co-wrote and produced along with many other legends in the songwriting world for many years. 

He was the recipient of numerous nominations and wins from CMA’s, Grammy’s, ACM and Music City News Awards and unending accolades in between. A highlight had to be nominations at both the Golden Globes and Academy Awards for Best Song – “Over You,” from the 1984 movie “Tender Mercies.” Roberts had other movie music, television, jingles and off Broadway shows added to his resume over the years including the musicals, Rachinoff and Damon's Song.

In 1999, Busch Gardens commissioned Roberts to write the opening song for their Williamsburg Extravaganza. 

Roberts died from numerous prolonged health issues on November 1, 2024, at the age of 79. 

(Edited from AllMusic, Williamson County Source, Wikipedia & Scoobysnax)

Joss Baselli (aka Jo Basile) born 18 September 1926

 

Joss Basselli (aka Jo Basile) born 18 September 1926 was an influential French accordionist, composer, and later publisher and arranger during the 1950s, '60s, and '70s. During his lifetime he sold millions of records and was a household name in Europe, and to a lesser degree in the eastern half of the United States. 

Basile was born Giuseppe Ottaviano Baselli in Somain, in northern France. His parents ran their own café that catered to the wave of Italian immigrants who entered the Somain, Nord region of France after WWI. They were music enthusiasts who passed on their passion to sons Giuseppe (nicknamed Joss) and Enrico. Both began playing the accordion when they were children. Their first gigs were playing for patrons in the café, but during their teens they graduated to playing weddings and other local celebrations. 

Gus Viseur

After the Second World War, Baselli met accordion virtuoso Gus Viseur by chance. The latter had created the influential and now standard bal-musette style (he also influenced harmonicist Toots Thielemans). Viseur was impressed by Baselli's playing, and encouraged him to pursue music as a career. The two became inseparable. 

Baselli moved to Paris in 1950, and landed the gig that would alter his life's course: he was introduced to the French chanteuse Patachou, who was making her mark on the bal-musette scene, and first became her accompanist, and later her musical director and soloist. As her star rose, so did his. Baselli married Viseur's daughter around the same time that Patachou opened a café in Montmarte; it became the hive of bal-musette activity in Paris. 

During Patachou's widely celebrated American tour in 1958 (in which she was acclaimed as Edith Piaf's chanson successor), Baselli's playing was noticed by and captivated Sid Frey, owner of the Audio Fidelity label. Renaming him Jo Basile, he initially capitalized on Patachou's popularity and recorded Basile playing French café songs and instrumental versions of some of her hits. It was the first in a long series of LPs (at least a dozen albums' worth) that all looked remarkably similar and fit right in with many space age pop/exotica records of the era.

                                   

The album covers invariably portrayed Basile playing his instrument (with the material usually a certain country's best-loved songs and pop hits) on a motor scooter with an attractive young woman on the back. 1964 proved to be a watershed year. Basile teamed with the great Brazilian trio Bossa Tres for the classic Swingin' Latin, and later Foreign Film Festival Cannes, showcasing the accordionist playing music by composers Nino Rota and Luis Bonfa in the company of American jazzmen Dick Hyman, Milt Hinton, Tony Mottola (as "Mr. Big"), Bobby Rosengarden, Phil Kraus, and Al Caiola. 

In 1965, Basile left Patachou's band and became the musical director of French pop icon Barbara. This was fortuitous, as the singer had her own television program and Basile was a featured soloist as well as accompanist. The gig provided his introduction to French television. He not only wrote and arranged songs for Barbara's show, but for other programs as well, his tunes eventually numbering in the hundreds. Two years later he left the show and reunited with Patachou for an American tour, but the stress of touring and performing got him thinking about other ways of making a living with music. 

With his many compositions for the Barbara show as a guide and a prime résumé, he began composing and arranging for French television and film in earnest. One of the most notable of these was "Le Manège Enchanté," a stop-action animated series by Serge Danot. A BBC producer asked actress Emma Thompson's father, Eric, to translate and record an English language narration, but Thompson decided the scripts just didn't work in English, and he wrote his own story, even renaming the characters. As "The Magic Roundabout," the series was an even bigger success in the U.K. Basselli also composed the score for the full-length film Danot produced as a spin-off from the series, "Dougal and the Blue Cat". 

But Basile also wrote dozens of pop songs. One of his best known is "Free Again," which was recorded by Barbra Streisand as the opening cut on 1966's My Name Is Barbra. During the last decade of his life, Basile started his own publishing company, Opaline, and hosted his own TV show called Le Monde de l'Accordeon, which featured the talents of gifted masters of the instrument; he also wrote and arranged for dozens of singers in French, English, and Italian and did session work. 

Basile remained active until he died on 5 September 1982 Mâcon, Saône-et-Loire, France, due to a sudden heart attack.  (Edited from AllMusic & IMDb)

Charlie Byrd born 16 September 1925

Charlie Byrd (September 16, 1925 – December 2, 1999) was an American jazz guitarist. Byrd was best known for his association with Brazilian music, especially bossa nova. In 1962, he collaborated with Stan Getz on the album Jazz Samba, a recording which brought bossa nova into the mainstream of North American music. Byrd played fingerstyle on a classical guitar. 

Charlie Lee Byrd was born in Suffolk, Virginia, and grew up in the borough of Chuckatuck. His father, a mandolinist and guitarist, taught him how to play the acoustic steel guitar at age 10. Byrd had three brothers, Oscar, Jack, and Gene "Joe" Byrd, who was an upright bass player. In 1942, Byrd entered the Virginia Polytechnic Institute and played in the school orchestra. In 1943, he was drafted into the United States Army, saw combat in World War II, and was stationed in Paris in 1945. There he played in an Army Special Services band and toured occupied Europe in the all-soldier production G.I. Carmen.

 After the war, Byrd returned to the United States and studied composition and jazz theory at the Harnett National Music School in Manhattan, New York City. During this time, he began playing a classical guitar. His first nylon string classical guitar is believed to be a 1933 Vincente Tatay which he purchased in a NYC music store. After moving to Washington, D.C., in 1950, he studied classical guitar with Sophocles Papas for several years. In 1954, he became a pupil of the Spanish classical guitarist Andrés Segovia and spent time studying with him in Italy. Byrd's earliest and greatest influence was the gypsy jazz guitarist Django Reinhardt, whom he saw perform in Paris. 

In 1957, Byrd met double bassist Keter Betts in a Washington, D.C., club called the Vineyard. The two men began performing gigs together, and by October were frequently performing at a club called the Showboat. In 1959, they joined Woody Herman's band and toured Europe for three weeks as part of a State Department-sponsored goodwill tour. The other members of the band were Vince Guaraldi, Bill Harris, Nat Adderley, and drummer Jimmy Campbell. Byrd led his own groups that sometimes featured his brother Joe. Byrd was also active as a teacher in the late 1950s; he trained guitar students at his home in Washington, D.C., each being required to audition before he agreed to be their teacher. 

                                   

Byrd was introduced to Brazilian music by Felix Grant, a friend and radio host who had contacts in Brazil in the late 1950s, and who was well-known there by 1960 due to the efforts of Brazilian radio broadcaster Paulo Santos. A tour of South America under the aegis of the U.S. State Department in 1961, proved to be a revelation, for it was in Brazil that Byrd discovered the emerging bossa nova movement. Once back in D.C., he played some bossa nova tapes to Stan Getz, who then convinced Verve's Creed Taylor to record an album of Brazilian music with himself and Byrd. 

That album, Jazz Samba, became a pop hit in 1962 on the strength of the single "Desafinado" and launched the bossa nova wave in North America. Thanks to the bossa nova, several albums for Riverside followed, including the defining Bossa Nova Pelos Passaros, and he was able to land a major contract with Columbia, though the records from that association often consisted of watered-down easy listening pop.  In 1963, Byrd toured Europe with Les McCann and Zoot Sims. Between 1964 and 1965, he appeared at the Newport Jazz Festival with Episcopal priest Malcolm Boyd, accompanying prayers from his book Are You Running With Me Jesus? with guitar. In 1967, Byrd brought a lawsuit against Stan Getz and MGM, contending that he was unfairly paid for his contributions to the 1962 album Jazz Samba. The jury agreed with Byrd and awarded him half the royalties from the album. 

In 1973, he formed the group Great Guitars with Herb Ellis and Barney Kessel and also that year, wrote an instruction manual for the guitar that has become widely used. From 1974 onward, Byrd recorded for the Concord Jazz label in a variety of settings, including sessions with Laurindo Almeida and Bud Shank. From 1980 through 1996, he released several of his arrangements to the jazz and classical guitar community through Guitarist's Forum. 

He also collaborated with the Annapolis Brass Quintet in the late 1980s, appearing with them in over 50 concerts across the United States and releasing two albums. Byrd played for several years at a jazz club in Silver Spring, Maryland, called The Showboat II which was owned and managed by his manager, Peter Lambros. He was also home-based at the King of France Tavern nightclub at the Maryland Inn in Annapolis from 1973 until his death. 

He died at his home in Annapolis, at the age of 74 on December 2, 1999 after a long bout with lung cancer. 

(Edited from Wikipedia & AllMusic)

 

Cannonball Adderley born 15 September 1928

Cannonball Adderley (September 15, 1928 – August 8, 1975) was an American jazz alto saxophonist of the hard bop era of the 1950s and 1960s. 

Adderley is perhaps best remembered by the general public for the 1966 soul jazz single "Mercy, Mercy, Mercy", which was written for him by his keyboardist Joe Zawinul and became a major crossover hit on the pop and R&B charts. A cover version by the Buckinghams, who added lyrics, also reached No. 5 on the charts. Adderley worked with Miles Davis, first as a member of the Davis sextet, appearing on the seminal records Milestones (1958) and Kind of Blue (1959), and then on his own 1958 album Somethin' Else. He was the elder brother of jazz trumpeter Nat Adderley, who was a longtime member of his band. 

Julian Edwin Adderley was born in Tampa, Florida, to high school guidance counselor and cornet player Julian Carlyle Adderley and elementary school teacher Jessie Johnson. Elementary school classmates called him "cannonball" (i.e., "cannibal") for his voracious appetite. 

Cannonball moved to Tallahassee 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. Adderley moved to Broward County, Florida, in 1948 and studied music at Florida A&M University and pledged the Beta Nu chapter of Alpha Phi Alpha fraternity. He then became the band director at Dillard High School in Fort Lauderdale, a position which he held until 1950.

Adderley was drafted into the U.S. Army in 1950 during the Korean War, serving as leader of the 36th Army Dance Band. He left Southeast Florida and moved to New York City in 1955, seeking graduate studies at local conservatories. One of his known addresses in New York was in the neighborhood of Corona, Queens. One night in 1955 he brought his saxophone with him to the Café Bohemia and was asked to sit in with Oscar Pettiford in place of his band's regular saxophonist, Jerome Richardson, who was late for the gig. The "buzz" on the New York jazz scene after Adderley's performance announced him as the heir to the mantle of Charlie Parker. 

                                   

Adderley formed his own group with his brother Nat after signing with the Savoy jazz label in 1955. He was noticed by Miles Davis and, because of his blues-rooted alto saxophone, was asked to play with his group. He joined the Davis band in October 1957, three months prior to the return of John Coltrane to the group. Davis notably appears on Adderley's solo album Somethin' Else (also featuring Art Blakey and Hank Jones), which was recorded shortly after the two met. Adderley then played on the seminal Davis records Milestones and Kind of Blue. This period also overlapped with pianist Bill Evans' time with the sextet, an association that led to Evans appearing on Portrait of Cannonball and Know What I Mean? His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child's Introduction to Jazz, released on Riverside Records. In 1962, Cannonball married actress Olga James. 

The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat on cornet. Cannonball's first quintet was not very successful; however, after leaving Davis' group, he formed another group again with his brother. The new quintet, which later became the Cannonball Adderley Sextet, and Cannonball's other combos and groups, included such noted musicians as saxophonists Charles Lloyd and Yusef Lateef, pianists Bobby Timmons, Barry Harris, Victor Feldman, Joe Zawinul, Sérgio Mendes, Hal Galper, Michael Wolff, and George Duke, bassists Ray Brown, Sam Jones, Walter Booker, and Victor Gaskin, and drummers Louis Hayes and Roy McCurdy. 

By the end of the 1960s, Adderley's playing began to reflect the influence of electric jazz. In this period, he released albums such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970). 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. In 1975 he also appeared in an acting role alongside José Feliciano and David Carradine in the episode "Battle Hymn" in the third season of the TV series Kung Fu. 

In July 1975, Adderley suffered a stroke from a cerebral hemorrhage and died four weeks later, on August 8, 1975, at St. Mary Methodist Hospital, in Gary, Indiana. He was 46 years old. He was buried in the Southside Cemetery, Tallahassee. Later in 1975, he was inducted into the DownBeat Jazz Hall of Fame. 

(Edited from Wikipedia)