Cannonball Adderley - Somethin' Else

Well, this is everything jazz should be, in this novice listener's opinion. Subdued in the right places, swinging in others, the supergroup Adderley put together for this album is simply astounding. Miles Davis and Adderley take center stage, but Hank Jones has some quality moments, and Sam Jones and Art Blakey provide a steady, if subdued, backbeat. I'd like to hear Blakey a little louder in the mix, but that's a small quibble.

The album may be a bit too conservative for those with particularly experimental tastes, nothing truly innovative seems to be going on here, but everything is in its proper place and is a wonderful starting point for those interested in exploring a burgeoning jazz infatuation, like myself.

Pure Jazz. For a remastered album it is as brilliant as when first heard it in 1959, only more refined and as excellent as it always was, Miles Davis should share all the credits with Cannonball Adderley as without his input, this album would not be as good as it is. Hank, Art & Sam also have a large input, but Cannonball & Miles shine through in an excellent example of good Jazz.

Conventional wisdom holds that this is a Miles Davis album, and that is pretty much right - it's an album led by Miles Davis, under Cannonball Adderley's name, set up to showcase the altoist who had just joined Davis's band. You can hear plenty of fine playing by Cannonball, but it's in Davis's world - the earthiness of many later Cannonball recordings isn't present.

The similarities are particularly obvious on the classic interpretation of "Autumn Leaves" and the Davis original "Somethin' Else". "Love for Sale" was recorded under Davis's leadership 3 months later, with Cannonball present, and it's interesting to compare the two approaches. (I prefer the Davis version, but they are both superb.)

Some people go further and compare this album to Kind of Blue. Yes, there are some similarities, particularly in the mood, but the "cerebralness" of the later album is largely absent on Somethin' Else. Hank Jones and Art Blakey have a very different, more conservative feel than Bill Evans and Jimmy Cobb. And the funky "One for Daddy-O", a Nat original and the one tune that really screams "Cannonball Adderley album!", wouldn't really fit in on a Davis album, much less Kind of Blue.

Overall a great album, and essential for most jazz fans.

If anyone ever wanted to know what Julian Cannonball Adderly is all about, go no further than track one of this album. He leaves it all on the table on Autumn Leaves. His solo there is so intense and emotion filled that it leaves you breathless.

Miles takes a back seat to Cannonball, but not because its Cannonball's gig, but because Cannonball's playing has no end to its emotional depth. It is a cliché to say it, but it is simply something else, period. And Hank Jones piano playing cannot be improved upon. It is exquisitely precise and the chords he drops makes the spine tingle. This is a good album, period.

Fifty stars

a brilliant cd,with an allstar cast of musicians on this session.this has been a mainstay jazz recording in the annals of jazz music,since it's release,in 1958.wonderful tracks on here,great playing from miles davis,who plays with a mute on this recording.cannonball adderly,never sounded better.this is one of the greatest jazz albums ever produced,so do yourself a favor,and go out and grab this one.

Whenever I need a lift, this is a good choice to provide one. This is also one of those CD's that, when I'm facing my music collection and not sure what I'm in the mood for, this is one of my "default" CD's. (The others are Jazz in Silhouette and Billy Taylor Trio.) You just can't go wrong when Miles Davis is involved, and Adderley brings a whole new dimension to the definition of a small horn section. Blakey's unmistakeable ferocity in driving the tunes provides a great backbone for the other musicians to build on, and each listening brings its own indescribable pleasure. I would say this is a CD that should be added to the collection of any serious jazz fan, and it would probably be a good choice for someone looking to broaden a non-jazz oriented music collection.

I ordered the RVG Remaster without realizing I had the previous edition (remastered by Ron McMaster) in my collection. An A-B comparison reveals that the previous edition has depth, subtlety, dynamic nuance, with the opening rhythmic figure by Hank Jones followed by the sustained pianissimo whole notes of Cannonball and Miles establishing an inviting mystique, then building on this mood right up to the first chorus of what is probably the most celebrated recorded version of "Autumn Leaves" in jazz. The RVG remaster starts with "hot" mics on the piano, then on both horns, with little difference in dynamic extremes. In fact, dynamics, ensemble textures, and stereo separation become meaningless as Rudy seems intent simply on making whatever instrument is temporarily featured as loud as possible. Having been spoiled by the previous edition, not to mention Miles' sound on his classic Columbia sessions, I can't stay with the RVG remaster, though admittedly some listeners attracted to the 1950s hard bop Blue Note sound may react differently.

The bonus track on the previous edition is titled "Alison's Uncle"; on the new edition, it's "Bangoon."

I have hundreds of Van Gelder-engineered sessions past and present and have yet to hear a remaster that is a dramatic improvement (in the case of "Somethin' Else" the opposite seems true). Apparently Blue Note had second thoughts about the project and has passed it on to Concord, though the majors are increasingly pushing downloaded tracks and the bigger profit margins they bring (no packaging costs, no need to pay writers for liner notes). The RVG reissues were at least welcome for assuring the continued circulation of vital music and for the updated, frequently informative and insightful liner notes. Unfortunately, we've reached yet another stage in the digital revolution. It's exceedingly rare now to find domestic jazz releases, whether new or reissues, of any sort. Like other collectors, I've had to look to Spain, Japan, Italy, Germany, Holland, etc. for reissues (and first-time releases) of historically significant, indispensable American music. (I'm left to wonder if Ken Burns' absorbing PBS series on jazz merely provoked complacency or, worse, a backlash against the music.)

4 stars for the music: it sounds like Davis' first quintet on the Prestige label - very good but not great. The reason for the single star is the 1998 transfer is awful: the treble is boosted far too high, with the result that Davis (and sometimes Adderley, too) sounds shrill above the stave, and the piano accompaniment is lost in the background. I suspect RVG was trying to give Miles the "Blue Note sound", but Miles isn't Lee Morgan (and I love Lee) and doesn't fit the mold. He's too introspective, his sound more diffuse than bright.

Blue Note needs to remaster this title to restore Miles to his rightful self.

If you like jazz, if you love jazz, or if you are only getting introduced to it, this album belongs in your collection. It features an all-star group of performers (anchored by the greatest artist of them all, Miles Davis) and it is truly unforgettable. Worth every penny!

Although Cannonball is the leader on this date, this LP was recorded at the time he was playing with Miles Davis who agreed to join him as a sideman.
But in this stage of his career, Miles played second fiddle (horn) to no one!
His beautiful and restrained statements are as beautiful as anything else recorded in the history of jazz so Cannonball, great as he is, sounds too verbose in his bop-based flights of fancy.
Rhythm section is impeccable (hank jones-p, sam jones -b, art blakey-dm) so this became one of the loveliest albums of the era.

This cd is packed with a roster of musicians that paved the way for the young lions of today. This is a cd that is full of jam sessions.

Not as energetic as my other favorite bebop pieces, but still very engaging, great solos. A *very* solid jazz album if there ever was one. Highly recommended.

This is simply one of those amazing recordings that just about everyone can agree on labeling a CLASSIC. And if any jazz recording truly deserves this description, it's "Somethin' Else". It is my second favorite jazz album of all-time (right behind "Kind of Blue"). The way Miles and Cannonball play off of each other is truly somethin' special. It's like watching an old William Powell - Myrna Loy movie, or Michael Jordan and Scottie Pippen play basketball, two artists who seem to not only know the other like the back of their hand, but also seem to be able to feed off of one another, not so much in a competitive way, but more of a playful, venerating one. The result for us of course, is magical! This classic is a perfect example of why art is so important in today's society. I can be having the absolute worst day of my life, however as soon as I come home and turn a CD like this one on it's almost as if my troubles seem to vanish within minutes. Try to it sometime, and see if I am just throwing out b.s. hyperbole. If you are a jazz fan and this doesn't do it for you, then I don't know what to recommend besides maybe some wine or opium. It would be like a classic rock fan who doesn't like "Revolver" or "Dark Side of the Moon". You might get a few fickle jazz fans out there who prefer different cups of tea, but for the most part (as you can also see by the five-star Amazon rating) this one is a no-brainer as most jazz zealots will agree.

This album is just over 43 minutes of pure bliss. Everytime I play this one I enjoy it more than the time before. And what's really ironic is the fact that everytime I play it I think the opposite - that I am actually going to be sick of the CD by now because of the many times I've already played it. That Miles Davis sure had some kind of run during 1958 and 1959. Has anyone in the history of music (the Beatles included) contributed more in nearly a two year span than this man? Along with "Somethin' Else" and "Kind of Blue" there were also "Milestones", "Sketches of Spain", "Porgy and Bess", etc... Not too shabby to say the least.

So please, if you are new to jazz music, make this purchase right away. It's not just about Miles and Cannonball, the rest of the quintet, the outstanding rythm section - Art Blakey (drums), Sam Jones (bass), and Hank Jones (piano) - all give inspired performances. I have never heard Art Blakey so restrained, but it works to perfection on this recording and his performance was perfect for it's subtle, yet soft nature (yes, drums can actually sound serene). This one deserves to be in it's own category - 6 STAR REVIEW!

I was between my freshman and sophomore years in high school when this gem was cut; and had virtually no interest in jazz until the mid-sixties while in the military. With all the barrack guys playing Cannonball, Miles, Mingus, Coltrane, Brubeck, Jimmy Smith, Shearing, and Nancy Wilson, among many others, on/off for two years I was imprinted. Then too all the Japanese coffee houses of Yokohama and Tokyo were then continually playing jazz without end. I was a goner, still am.

This Blue Note album is very light on bop (though Art B brings some into it), which by 1958 was slowly receding into a becoming a more mellow, elegant sound in both American clubs and coffee houses. And prior to the intrusion of the later electric, it offered up all the cuts rendered here now as a time piece, a time piece which today allows a benchmark for a period of music we will never experience again, partly because things have moved on, but also because most of these wonderful musicians playing on this recording are now dead. This style of jazz is as dead as the big band period which preceeded it.

My jazz collection is pretty much centered from the mid-1950s, after bop through the mid-1960s, pre electric, so this album pleases me almost more than I can say. I wouldn't say this album is for one and all, but more for those who enjoy a light tempo, graceful blending together of both old standards with some newer music. And though Bangoon was not part of the original release, the drum work by Art Blakey sets this final cut as a piece to behold, bop will have its way. The anchor, however, for all this is of course Miles Davis who at this early time in Cannonball's career was both a helpful and guiding influence. While Miles stated some of his influence of the time came from Ahmad Jamal and the work Jamal had been doing.

So, if you want not only enjoyable jazz, but very much historical jazz, this album from March of 1958 may find a treasured spot in your collection. I know it has in mine and as these reviews give evidence, many, many others as well.

Semper Fi.

I first acquired this album as a cassette and wore it out because I loved it so much. I'm happy to say that sound quality of the cd version is absolutely amazing and crystal clear. You'll feel like you're in the same room with these guys even though this timeless music was recorded nearly 50 years ago! As a jazz musician I know that "Autumn Leaves" has become a song the many people are frankly tired of, but this is the best version you'll ever hear. There is little doubt that Cannonball was the greatest alto sax player in jazz history, and certainly one of the most lyrical and explosive horn players in all of jazz during his lifetime. He shows his incredible range on the classic version of "Dancing in the Dark", taking his playing to unexpected heights. This is some of the most mellow and subtle playing you'll hear from Art Blakey on any record, but he is solid as ever and keeps the band moving right along. "One for Daddy-o" has a wonderful slow groove that works very well. The xtra track has also a very catchy melody. To put it bluntly, no jazz collection is complete without this cd. If I could only take 10 discs with me to a deserted island for the rest of my life this would probably be one of them!

There are a few reissues of this absolutely great Cannonball Adderley recording. The first five cuts on all the reissues are the same 5 cuts that make up the original vinyl LP. A few of the reissued CD's have an additional sixth cut. The sixth cut was discovered by Blue Note and initially released in Japan in 1982 and given the name "Allison's Uncle" because Nat Adderley's daughter was born on the day it was recorded. Further research revealed that the mystery tune is a Hank Jones composition that the pianist recorded as "Rangoon" with the Gigi Gryce/Donald Byrd Jazz Lab quintet for a Jubilee label in August 1957. Therefore, please be advised that "Allison's Uncle" and "Rangoon" and the same exact cut, just with a different name for the same song. I got this info from the Rudy Van Gelder Edition footnotes by Bob Blumenthal. Tidbits like this are very important to me and thought it might be valuable to others as well.

The richness of tone and beauty of melody achieved in these sessions is difficult to match. Nothing is forced, everyone takes their turn without any sense of impatience or underlying rancor, yet the performances display an understanding of the opportunity and a sense that judgments will be made regarding the work created here. The result is a piece of art that is seemless, timeless and ever-rewarding to the listener. It is well-recorded and balanced, displaying Alfred Lion-Rudy Van Gelder seminal production values. Cannonball proves himself well-suited to play with the all-stars in this assemblage, but it is Miles Davis who, seemingly without effort, ascends to the top of this marvelous recording. Stands with Kind of Blue, Blue Train, Portrait in Jazz and a few other recordings as one of the high points of the seminal era of jazz.

As all concur this is a great jazz CD..know that the bonus track Alison's Uncle on an earlier remasterered edition was exchanged for Bangoon on this edition of CD..I guess the better sound here and different track will increase copies sold...why both were not included on this CD is beyond me..The down side of
perfectionists.

As of now 36 customer reviews and an average of 5 stars. Something tells me this is a jazz classic ! The featured quintet is a who's who of jazz greats, check it out. The music stands on it's own merits and would pass any blinfold test by unknowing ears as to it's authenticity and maybe even as to who is playing. Of course on the opening notes of the standard "Autumn Leaves" any jazz aficionado would recognize the essence of the cool Miles Davis's licks. Another standard featured, " Love For Sale, " made famous by Lady Day is more uptempo, not as melancholy as Billie Holiday's version and dispalys a more swinging interpretation. The title track "Something Else" walks the tightrope between hard bop and cool jazz with an affirmative rebirth. Nat Adderly is adept and versatile on this disc, showing his ability to integrate and utilize superb and diverse musicians for a cohesive uniform sound throughout the disc. The bonus track "Bangoon" is a lost treasure revived from the vaults and given the masterful treatment by Rudy Van Gelder. The disc has been remastered to beyond perfection and includes original liner notes and an additional essay by Bob Blumenthal that compliments the original . Great timeless music that has been given the sonic once over for the digital age. Highly recommended to any jazz collection.

Fantastic combo, , just great. The new mix is not quite as good as I thought it would be. Not enough bass ...

I think many jazz fans have a love/hate relationship with Blue Note. I definitly do, Blue Note, now owned by capital records, seems to have fans in the back of the mind, and thier wallet in the front. Blue Note's catalogue has so many gems still out of print (Sam River's - Dimensions and Extenstions, all of Elvin Jonen's sessions, Don Cherry, ect.). Blue Note is the Disney of Jazz, everything is from the "vaults" and avaible for a limited time (ie. the Conssiour Series at $17.98 retial). I wish they just stop issuing Art Blakey, and Horace Silver sets and bring in some more variety (and lets leave Norah Jones out of this). Cannonball Adderly, Miles Davis, and Hank Jones are buy no means Blue Note artists, and this record shows it. I have nothing else to say about the music, their are plenty of reviews here about that.