Cannonball Adderley - Somethin' Else
Released - 1973
Recording and Session Information
Van Gelder Studio, Hackensack, NJ, March 9, 1958
Miles Davis, trumpet #1-4; Cannonball Adderley, alto sax; Hank Jones, piano; Sam Jones, bass; Art Blakey, drums.
tk.2 Autumn Leaves
tk.3 Love For Sale
tk.4 Somethin' Else
tk.6 One For Daddy-O
tk.11 Dancing In The Dark
See Also: BLP 1595
Track Listing
| Side One | ||
| Title | Author | Recording Date |
| Autumn Leaves | Joseph Kosma, Johnny Mercer, Jacques Prévert | 09/03/1958 |
| Love For Sale | Cole Porter | 09/03/1958 |
| Side Two | ||
| Somethin' Else | Miles Davis | 09/03/1958 |
| One For Daddy-O | Nat Adderley | 09/03/1958 |
| Dancing In The Dark | Arthur Schwartz, Howard Dietz | 09/03/1958 |
Liner Notes
How docs it come to be that some of the greats of such as Miles, Cannonball, Blakey, and Hank Jones have joined forces to contribute their musical efforts into a myriad of sensuous, cooly complacent, and ever-drifting music of sheer perfection?
The alto sax of Julian "Cannonball" Adderley casts a contemporary, bop-mold of the late Charlie Parker, Hank Jones' piano simmers with the Golden Age of Swing. Art Blakey, the man on skins, has definite allegiance to the so-called "hard-bop" or "hard funk" of Jazz. Miles' masterful execution on trumpet is a pure delight for he is heard cool, confident, and untarnished in his control which is quite far from his contributions today.
However, a mistake that has been made in jazz on numerous occasions, is the continual labeling and classifying of "schools" and/or roots inimical to the individual artist. If this Was appropriate an obvious differentiation would exist between the coolness of Milos and the be-bop funk of Cannonball. Nevertheless, this assemblance of musicians gratifies Miles' cool approach in the composition "Autumn Leaves". "Somethin' Else" transcends the complimentary marriage of Cannonball's bop, Art Blakey's swing, and the Gabriel-like purity of Miles Davis.
All in all, Blue Note decided to re-release this album on its musical validity; as one jazz "Supergroup" album combined with individual styling of five musicians in the year 1958.
It is interesting to note that in 1969 when Crosby-Stills-Nash merged, the term supergroup was coined on the street, This term was by no means revolutionary in the realm of jazz music. The only difference lies in the fact that super is not flaunted in the world of Jazz, but merely understood and appreciated, This is reason enough to circumspect true supergroup artistry, and this particular gem is a pleasant beginning,
—Jere Hausfater - Blue Note Records
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