Cannonball Adderley gave up his own band in 1957 when he had the opportunity to become a sideman in Miles Davis' epic ensemble with John Coltrane, eventually resulting in some of the greatest jazz recordings of all time (including Milestones and Kind of Blue). Davis returned the favor in March of 1958, appearing as a sideman on Adderley's all-star quintet date for Blue Note, and the resulting session is indeed Somethin' Else. Both horn players are at their peak of lyrical invention, crafting gorgeous, flowing blues lines on the title tune and "One for Daddy-O," as the rhythm team (Hank Jones, Sam Jones, Art Blakey) creates a taut, focused groove…
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24bit remastering. Includes an alternate take of "Autumn Leaves" for the first time in the world. Cannonball Adderley gave up his own band in 1957 when he had the opportunity to become a sideman in Miles Davis' epic ensemble with John Coltrane, eventually resulting in some of the greatest jazz recordings of all time (including Milestones and Kind of Blue). Davis returned the favor in March of 1958, appearing as a sideman on Adderley's all-star quintet date for Blue Note, and the resulting session is indeed Somethin' Else.
By the time of the Somethin' Else session, Cannonball's sound had considerably more nuance, with darker tones and more brooding solos. Nonetheless, the Parker influence continued to shine, and the whole session has a sense of relaxation that results in music that is truly joyous.
A few seconds of spacy echo loops and you know where this album is coming from – the early jazz/rock era, the Age of Aquarius and all that. Yet this crazy amalgam of jazz, rock, electronics, and spoken astrological advice by the popular Los Angeles DJ Rick Holmes actually works, for the music behind the soulfully intoned words is very inventive and Holmes plays effectively off its rhythms.
Depending on the nature of the person involved, success either dictates more and more compulsive activity, or else it permits relaxation. With Cannonball Adderley, the latter certainly appears to be the case; and this album can, among other things, serve as a testimonial to the truth of this impression. Adderley is undeniably a successful, widely-acclaimed artist, and it may seem to some that his success came quickly. But it is more in the nature of what one night-club comic once referred to bitterly as "my overnight success after fifteen years." To recap briefly, Cannonball came up to New York in the mid-'5Os with a thorough background as a player…
Adderley's next-to-last recording (cut just four months before he died of a stroke at age 46) was ironically a retrospective of his career. While his then-current group (with cornetist Nat Adderley, keyboardist Mike Wolff, bassist Walter Booker, and drummer Roy McCurdy) was featured on half of this two-LP set (highlighted by "Stars Fell on Alabama," "74 Miles Away," and a medley of "Walk Tall" and "Mercy, Mercy, Mercy"), on the remainder of this two-fer the Adderleys welcome back several alumni (keyboardist George Duke, bassist Sam Jones, and drummer Louis Hayes) for new versions of "High Fly," "Work Song," "Sack O'Woe," "Jive Samba," "This Here," and "The Sidewalks of New York." A recommended set with plenty of excellent music, it serves as a fine overview of Cannonball Adderley's career.
Remastered in 24-bit from the original master tapes. Part of our Keepnews Collection, which spotlights classic albums originally produced by the legendary Orrin Keepnews. Recorded live at the Jazz Workshop in San Francisco, this hit album captures the bluesy alto saxophonist and his band (featuring brother Nat on cornet and Bobby Timmons on piano) during their triumphant four-week run. It not only wowed the city’s jazz aficionados but also introduced Russian classical composer Dmitri Shostakovich to his first dose of live jazz.