Cannonball Adderley Somethin' Else CD

Personnel: Julian "Cannonball" Adderley (alto saxophone); Miles Davis (trumpet); Hank Jones (piano); Sam Jones (bass); Art Blakey (drums).
Recorded at the Van Gelder Studio, Hackensack, New Jersey on March 9, 1958. Includes liner notes by Leonard Feather.
The Rudy Van Gelder Edition of SOMETHIN' ELSE includes an essay by Bob Blumenthal.
The track "Bangoon" is the correct title for the track "Allison's Uncle" that was originally included as a bonus on previous editions of SOMETHIN' ELSE.
Personnel: Julian "Cannonball" Adderley (alto saxophone); Miles Davis (trumpet); Hank Jones (piano); Sam Jones (bass); Art Blakey (drums).
Producer: Alfred Lion.
Reissue producer: Michael Cuscuna.
Recorded at the Van Gelder Studio, Hackensack, New Jersey on March 9, 1958. Originally released on Blue Note (81595). Includes liner notes by Leonard Feather and Bob Blumenthal.
Digitally remastered using 24-bit technology by Rudy Van Gelder.
This is part of the Blue Note Rudy Van Gelder Editions series.
Personnel: Cannonball Adderley (alto saxophone); Miles Davis (trumpet); Hank Jones Great Jazz Trio (piano); Art Blakey (drums).
Audio Remasterer: Rudy Van Gelder.
Recording information: Van Gelder Studios, Hackensack, NJ (1958).
Photographer: Francis Wolff.
It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue -- aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, ""Alison's Uncle,"" closes out Somethin' Else on a high note, changing the flow of energy in an interesting way (purists can still finish up on a quieter note, as with the original, by programming ""Dancing in the Dark"" as the final track). In many ways it's a surprise that this track was left off originally -- it's an excellent piece, with Adderley and Davis trading licks and solos while Jones and Blakey keep pace. Blakey also takes some terrific solos. The remastering job is the usual superb MFSL effort, producing clear sound with almost no background noise. Due to the original recording (made in 1958), Davis' trumpet sometimes seems a little shrill and metallic, but it's not an overwhelming problem -- certainly not when you consider Davis' style. Altogether, an excellent addition to any jazz collection. ~ Steven McDonald
When alto saxophonist Julian "Cannonball" Adderley, a high school band director from Florida, passed through New York with brother Nat during a school break, he found more excitement than he was counting on. After Julian offered to sit in for a late reedman, the session's leader, bassist Oscar Pettiford confronted him with the challenging changes of "I'll Remember April," at a breakneck tempo designed to humiliate the young upstart. Instead, Adderley responded with a solo that became the talk of the town; within days, his recording career had begun; and within a year he was able to give up his teaching job to front a full-time band.
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, 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 Hank Jones/Sam Jones/Art Blakey rhythm team creates a taut, focused groove (pianist Hank Jones' sly, intuitive orchestrations are studies of harmonic understatement). Adderley's lush, romantic improvisQ (8/99, p.122) - 4 stars (out of 5) - "...one of jazz's 'perfect' albums..."
Musician (12/92, p.99) - "...A champ quintet with proper balance of space and power. Blissful cool bop grooves....Among the candidates for 'greatest Miles Davis record'..."
Stereophile (2/93, p.119) - "...Universally praised since its first release in 1958....To even hint at criticism of the playing would be childish....An album I'll never tire of hearing..."