Cannonball Adderley

JP Jazz Archive/Redferns/Getty Images

Cannonball Adderley was a mere 46 when he died, of a brain hemorrhage, in 1975. An alto saxophonist of robust intellect and irrefutable soul, he left a monumental legacy during his two decades in the spotlight — as a member of the Miles Davis Sextet, an exemplar of 1960s soul jazz and the leading avatar of a brand of post-bop modernism with popular appeal.

Tom Copi

“We’re going to play this beautiful tune by Leonard Bernstein,” says alto saxophonist Cannonball Adderley at one point on Swingin' in Seattle: Live at the Penthouse (1966-1967), a collection of previously unreleased live material. A hint of weariness creeps into his usually self-assured tone, and Joe Zawinul begins playing open, rubato chords beneath the introduction — about as far from the groovy riffs that he’s best known for as one can get.

Art Kane / Art Kane Archives

No one needs to be reminded that 1959 was an exceptionally good year for jazz. 

Gulnara Khamatova

Louis Hayes has logged his share of session hours for Blue Note Records, as the impeccably swinging drummer for label stalwarts like Grant Green, Curtis Fuller and, indelibly, Horace Silver. Now comes his turn in the driver’s seat: Hayes will make his Blue Note debut as a leader with Serenade for Horace, due out in May.

As that title suggests, the album is a tribute to Silver, the pianist and composer with whom Hayes first made his name during the mid-to-late 1950s.