Wadud was a pioneer on his instrument. The cello was his primary ax — and an expansive vehicle for self-expression. Wadud's sound was unmistakable, rich and soulful, and he broadened the sonic range of his instrument.
Any session with him had a unique sound that went beyond the sonorities of his instrument. There was clarity, order and a lyrical quality to the music, which is one reason many fans followed his work as a sideman no less than they did his bandleaders.
"I think of Abdul's playing on 'Dogon A.D.' like a full gospel choir," says Marty Ehrlich, the multi-reedist and composer who curates the Julius Hemphill Archive in the NYU Fales Library."He is covering the soprano, alto, tenor, and bass voices. He is in many ways orchestrating the shape of the work.", released more than two decades later, Hemphill says of Wadud that"we're so close musically, I feel like I have total freedom.
Wadud started out playing alto saxophone, but made cello his focus after hearing the instrument in groups led by the stellar saxophonist Albert Ayler, who also hailed from Cleveland. Wadud always praised the level of arts education in Cleveland's public schools, where he received an education on his instruments.
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