Somethin' Else

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Adderley, Nat (Nathaniel)". Encyclopedia of Jazz Musicians. Jazz.com. Archived from the original on August 30, 2013 . Retrieved December 13, 2012. However, careful listening brings to the fore the difference in their approach to the material and how this complements and elicits the best from both musicians.

This time it is the trumpeter that takes the second solo and does so with a graceful and perfectly weighted offering on open horn. Stanton, Scott (September 1, 2003). The Tombstone Tourist: Musicians. Simon and Schuster. ISBN 9780743463300 . Retrieved August 1, 2018– via Google Books. a b c d e f g h Yanow, Scott. "Cannonball Adderley – Music Biography, Credits and Discography". AllMusic . Retrieved July 8, 2012. 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. Miles follows on muted trumpet and his solo is a beauty. A model of restraint, his solo is economy in motion, throwing the alto solo into stark relief. This restraint and is then imposed on Hank Jones who also produces a solo that is devoid of any superfluous notes or gestures.So here, Cannonball, on his own date, somehow got Miles Davis to serve as a sideman, which is extremely rare. He's assembled a quintet of marvelous musicians. Hank Jones, too, is a very underappreciated Hall of Fame pianist. And of course you've got the great Art Blakey on drums and the very solid Sam Jones on bass, and they play perfectly on this record. 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. The new quintet, which later became the Cannonball Adderley Sextet, and Cannonball's other combos and groups, included such noted musicians as saxophonists Charles Lloyd and Yusef Lateef, pianists Bobby Timmons, Barry Harris, Victor Feldman, Joe Zawinul, Hal Galper, Michael Wolff, and George Duke, bassists Ray Brown, Sam Jones, Walter Booker, and Victor Gaskin, and drummers Louis Hayes and Roy McCurdy. [ citation needed] Later life [ edit ] Nat and Cannonball Adderley in Amsterdam, 1961

MURRAY HORWITZ: I think one of the exciting things about jazz music is that you're always trying to catch lightning in a bottle as a listener and certainly as a player. That's what Cannonball Adderley did on March 9, 1958, and the result was, as you pointed out, some of the best work by two of the best soloists in jazz history. It's on the CD Somethin' Else on the Blue Note label. For NPR Jazz, I'm Murray Horwitz. Tirro, Frank (2000). "Adderley, Cannonball". American National Biography. Oxford University Press. doi: 10.1093/anb/9780198606697.article.1801933 . Retrieved October 7, 2022. The same phenomena happens in music: It is far easier to follow a theme when it is rendered cleanly and with conviction, when care is taken to convey the shape and the meaning and the mysteries lurking behind the notes. The jazz musicians who headlined in the 1950s understood this: Led by Miles Davis, the taciturn trumpet prophet who conveyed heartbreak (along with a zillion other emotions) in highly distilled two and three note codes, they developed an aesthetic of carefully considered austerity. In this scene, clarity was prized. Core truths expressed cleanly ruled over everything else – including, crucially, flashy bebop displays of technical prowess.Cannonball Adderley’s Somethin’ Else, one of the few albums featuring Davis as a sideman, is a monument to that type of discourse. Like Davis’ Kind of Blue, recorded with Adderley the following year, it is calm and uncluttered and direct, each line and phrase contributing something crucial to the whole. Indeed, Somethin’ Else is a kindred jazz classic, a sibling of sorts to Kind of Blue. Among other sterling attributes, it shares that landmark’s emphasis on stark, easy-to-appreciate melodies. He arrived fully formed as a vibrant and mature alto stylist who would go on to record on some of the most influential albums in the history of the music, and not to be mention some classic albums under his own name too.

Manfred Mann – The Five Faces Of Manfred Mann". Discogs. September 11, 1964 . Retrieved April 4, 2023. However, the title was incorrectly listed as ‘Alison’s Uncle’ as prior to the session Nat Adderley’s wife had given birth to a daughter named Alison, and thus Cannonball became Alison’s Uncle. Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1955. 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. [6] He joined the Davis band in October 1957, three months prior to the return of John Coltrane to the group. Davis's notably appears on Adderley's solo album Somethin' Else (also featuring Art Blakey and Hank Jones), which was recorded shortly after the two met. Adderley then played on the seminal Davis records Milestones and Kind of Blue. This period also overlapped with pianist Bill Evans' time with the sextet, an association that led to Evans appearing on Portrait of Cannonball and Know What I Mean?. [6]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. Lydon, Michael, Ray Charles: Man and Music, Routledge (1996); updated edition, January 22, 2004, ISBN 0-415-97043-1. Cerulli, Dom (27 November 1958). "Review of Somethin' Else" (PDF). DownBeat . Retrieved 20 November 2023.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. Notable Alphas" (PDF). Alpha Phi Alpha. p.11. Archived from the original (PDF) on September 18, 2017 . Retrieved August 1, 2018. A.B. SPELLMAN: Yeah, this is Miles' composition, "Somethin' Else," and it does have that kind of antiphony, that call and response that was at the very root of jazz. Jazz started here, in a manner of speaking. And so the voices, which are almost human voices, in a way, are of two guys who have a lot to say to each other. It's a very relaxed conversation, but it's a meaningful conversation as well.