Cannonball Adderley - Somethin` Else
Artist Cannonball Adderley
Title Somethin` Else
Rudy Van Gelder Studio, Hackensack, NJ, March 9, 1958.
Label: Blue Note
Catalog: CDP 7 46338 2
Format: CD, Reissue
Country: US
Released: 1986
Genre: Jazz
Style: Hard Bop
Number of Discs 1
Source: Original CD
Size Torrent: 299 Mb
Cover Included
Extractor: EAC 0.99 prebeta 4
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File.cue Multiple wav file with Gaps (Noncompliant)
Accurately ripped (confidence 22)
Track list
1. Autumn Leaves
2. Love For Sale
3. Somethin’ Else
4. One For Daddy-O
5. Dancing In The Dark
6. Alison’s Uncle (not on original LP)
Personnel
Miles Davis trumpet
Cannonball Adderley alto saxophone)
Hank Jones piano
Sam Jones bass
Art Blakey drums
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Biography
Julian Edwin "Cannonball" Adderley (September 15, 1928 – August 8, 1975) was a jazz alto saxophonist of the small combo era of the 1950s and 1960s. Originally from Tampa, Florida, he moved to New York in the mid 1950s.
He was the brother of jazz cornetist Nat Adderley
His educational career was long established prior to teaching applied instrumental music classes at Dillard High School in Fort Lauderdale, Florida. Cannonball moved to Tallahassee, Florida 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. Cannonball was a local legend in Florida until he moved to New York City in 1955, where he lived in Corona, Queens.
It was in New York during this time that Adderley's prolific career began. Adderley visited the Cafe Bohemia (Oscar Pettiford's group was playing that night) where he brought his saxophone into the club with him, primarily because he feared that it would be stolen. He was asked to sit in as the saxophone player was late, and in true Cannonball style, he soared through the changes, and became a sensation in the following weeks.
Prior to joining the Miles Davis band, Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1957. He was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group.
Adderley joined the Miles Davis sextet in October 1957, three months prior to John Coltrane's return to the group. Adderley played on the seminal Davis records Milestones and Kind of Blue. This period also overlapped with pianist Bill Evans's time with the sextet, an association that led to recording 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.
By the end of 1960s, Adderley's playing began to reflect the influence of the electric jazz avant-garde, and Miles Davis' experiments on the album Bitches Brew.[citation needed] On his albums from this period, such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970), he began doubling on soprano saxophone, showing the influence of John Coltrane and Wayne Shorter.[citation needed] 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.[citation needed] In 1975 he also appeared (in an acting role alongside Jose Feliciano and David Carradine) in the episode "Battle Hymn" in the third season of the TV series Kung Fu.
Joe Zawinul's composition "Cannon Ball" (recorded on Weather Report's album Black Market) is a tribute to his former leader.
Songs made famous by Adderley and his bands include "This Here" (written by Bobby Timmons), "The Jive Samba," "Work Song" (written by Nat Adderley), "Mercy, Mercy, Mercy" (written by Joe Zawinul) and "Walk Tall" (written by Zawinul, Marrow and Rein). A cover version of Pops Staples' "Why (Am I Treated So Bad)?" also entered the charts.
Adderley was a member of Phi Mu Alpha Sinfonia Fraternity of America Incorporated (Xi Omega, Frostburg State University, '70), the largest and oldest music fraternity in America and Alpha Phi Alpha, the oldest existing intercollegiate Greek-letter fraternity established for African Americans (made Beta Nu chapter, Florida A&M University).
Adderley died of a stroke in 1975. He was buried in the Southside Cemetery, Tallahassee, Florida. Later that year he was inducted into the Down Beat Jazz Hall of Fame
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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.
Julian "Cannonball" Adderley burst upon the jazz scene in 1955, sitting in with Oscar Pettiford's group at the Bohemia in New York and almost instantly being hailed as the "new Bird". While Adderley had certainly listened to and incorporated Charlie Parker's work into his playing by this time, the foundation for his funky, graceful alto style came from careful listening to the work of Johnny Hodges and Benny Carter, as well as tenor players like Coleman Hawkins, Ben Webster, and, of course, Lester Young.
Adderly worked as a band director at Dillard High School in Fort Lauderdale, Florida from 1948 until shortly after his appearance at the Bohemia, when he and brother Nat formed a quintet and began to tour. Julian broke that group up in '57 to join Miles Davis' group, and in March of 1958 recorded the album Somethin' Else as leader with Davis, pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Adderley learned much from his involvement with Miles, not only from Davis himself, but from saxophonist John Coltrane, who was also a member of the sextet. Cannonball's playing on classic Davis sessions like Milestones reveal a new discipline in the use of space and silence as well as a more adventurous harmonic ear. 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.
The album begins with an incredible reading of the standard Autumn Leaves, which kicks off with a fairly long introduction in a minor key that is a precursor of the sounds that would eminate from Miles' upcoming 1959 Kind of Blue album, which also featured Adderley. The piece sets the tone for the album, with nice solo work from Cannonball, Davis, and pianist Hank Jones, ending on another minor key theme that sets this arrangement off from the many on this tune that have been recorded.
After an adlib piano intro from Jones, Miles states the theme in Love For Sale, using a muted and stark tone. Adderley wears his Bird influence on his sleeve on this track, playing a solo that is very evocative of Parker and could even be mistaken for him by some listeners. However, Cannonball's distinctive tone and strong sense of thematic development are in evidence and help to distinguish the solo as his. Davis' Somethin' Else is a 12-bar form, but it is far from traditional blues in its harmonic structure. It creates a joyful feeling from the beginning, then allows the soloists to expand on that feeling in a complex harmonic environment. Hank Jones plays a great solo utilizing the block-chord style that is both subtle and completely swinging. One for Daddy-o is vintage Cannonball, utilizing the straightforward funky blues that he could so effectively use to capture and audience and take it to many places it would normally have been unwilling to go. Adderley demonstrates the same inventiveness with the blues format as Charlie Parker. Davis' solo is a wonderfully heartfelt yet sophisticated take on the blues changes, demonstrating everything there is to love about this masterful improviser. Jones also turns in a nice, though brief, bop-blues piano solo that is just right for the tune.
Dancing In the Dark is sheer beauty, and demonstrates Adderley's very adept approach to the ballad, another hallmark of his playing. Here some of the tenor influences, particularly Hawkins and Webster, come through, not to mention the ghost of Johnny Hodges. The orginal Blue Note CD release featured an extra track Alison's Uncle.