Somethin' Else

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The opening jazz standard ‘Autumn Leaves’ would be a staple in the trumpeter’s repertoire for many years, and is a wonderful performance that serves to demonstrate superbly the contrast in, and compatibility of the playing of the two men. By the end of the 1960s, Adderley's playing began to reflect the influence of electric jazz. In this period, he released albums such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970). 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. In 1975 he also appeared in an acting role alongside José Feliciano and David Carradine in the episode "Battle Hymn" in the third season of the TV series Kung Fu. [14] The album closes with a ballad in ‘ Dancing In The Dark‘ byHoward Dietz and Arthur Schwartz. Miles sits this one out, and Adderley treats us to a beautiful reading of the tune, and equally gorgeous solo to match.

A.B. SPELLMAN: Cannonball is a musician who can play a whole lot of notes and so will put together very complex phrases. What Cannonball does here is sort of compromise his phrasing for Miles' seriousness of selection, and it works very, very well.

Recommendations

This is the Jazz I love. “Alison’s Uncle” is the only song on this release that did not strike a chord with me [and that was because of the brassy drumming], but that’s just my taste ... this music is so cool, and so smooth that it is infectious ... working it’s way into the mind, body and soul. As brilliant as each note is, those same notes seem understated, floating like smoke, sustained just long enough for rhythmic perfection. Trying to find something you don’t dig on this album is just what you are going to have to do ... but I don’t believe that you’ll have much success.

The saxophonist had formed his own band with his brother, Nat Adderley, on cornet and had signed a record contract with Savoy Records after his success at Café Bohemia. Like Parker, Adderley had an outstanding technique on the his instrument and a tone that was shot through with the blues. There was also a soulful edge to his playing that would, in later years, soften the hard bop language into the gospel and soul influenced jazz of the sixties.a b c "The Cannonball Adderley Biography". Cannonball-adderley.com. September 15, 1928 . Retrieved July 21, 2017. Mercy, Mercy, Mercy – Cannonball Adderley – Song Info – AllMusic". AllMusic . Retrieved August 1, 2018. a b Mathieson, Kenny (October 4, 2012). "Adderley, Cannonball [Julian Edwin]". Oxford Music Online. Vol.1. Oxford University Press. doi: 10.1093/gmo/9781561592630.article.a2226820. But here, Cannonball has been working with Miles Davis, and he's been working in a band with John Coltrane and Bill Evans. And you don't fool around in that band. You take things very seriously because there's some deep music being made there. This is the band that made Kind of Blue.

Adderley, Nat (Nathaniel)". Encyclopedia of Jazz Musicians. Jazz.com. Archived from the original on August 30, 2013 . Retrieved December 13, 2012. a b c d e f g h Yanow, Scott. "Cannonball Adderley – Music Biography, Credits and Discography". AllMusic . Retrieved July 8, 2012. Randel, Don Michael (1996). "Adderley, Cannonball". The Harvard Biographical Dictionary of Music. Cambridge, Massachusetts: Harvard University Press. p. 5. ISBN 0-674-37299-9. Following in their footsteps, Adderley also taught and becameband director at Dillard High School in Fort Lauderdale until 1950. Havers, Richard (March 9, 2021). " 'Somethin' Else': Cannonball Adderley And Miles Davis' Musical Discourse" . Retrieved July 14, 2021.Carrying his saxophone case, Adderley waked into the Cafe Bohemia to hear some music, only to be asked by the band leader, Oscar Pettiford if he would sit in to replace his regular saxophone player who was late for the gig. Brown, Geoffrey F. (August 28, 1975). "The Cannonball Rests, But Brother Nat Carried On". Jet. pp.58–61.