Somethin' Else

Product Information

On the other hand, the surface is so sensible, I already have micro thin hairline cracks on the spines of the first inner slip case thingies. Somethin' Else is an album by American jazz saxophonist Julian "Cannonball" Adderley, recorded on March 9, 1958 and released on Blue Note in August later that year—his only album for the label. And then listen as bassist Sam Jones and drummer Art Blakey seize some of those stone-simple pianistic rejoinders and transform them into fuel for further agitation.

On both sides the 9 and M are etched "sideways" relative to the rest of the information that's etched or stamped. The composition is actually Hank Jones' "Bangoon", and first appeared on Gigi Gryce's 1957 Jubilee Records album Jazz Lab, with Jones playing piano. Adderley’s band was as tight and compact as he was in stature, and it’s brilliant to hear on this record, the songs on which Miles Davis steps in, participating in like style and fashion, yet letting those signature Miles Davis elements shine through . but don’t go thinking all of his music is as soulful as that found here, Adderley was a seminal influence on the driving style of Hard Bop, and there was no holding him back if he decided to rip loose and swing with faster tempos . Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would right in front of you on a stage.He darts around, surfing the shadows, and somehow maintains vital connection with the steady cadences of the tune. Among other sterling attributes, it shares that landmark’s emphasis on stark, easy-to-appreciate melodies. Autumn Leaves" would remain in the Davis book, and " Love for Sale" would be recorded by the Davis Sextet a little over two months later. Address in back cover should be printed with Serif font and is considered the first printing, per Fred Cohen's "A guide for Identifying Original Pressings", page 105.

The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he’d make such a move after the calendar passed the mid-1950s. Adderley and Davis bring contrasting approaches to the table yet sound of a singular mind on “Autumn Leaves,” with the latter’s muted trumpet and the headliner’s lush alto saxophone dovetailing into a performance that endures as a blueprint for expression, counterpoint, sophistication, fluidity, and linearity.And Dancing in the Dark is a tour de force by Cannonball, one of the greatest solos in jazz, a gorgeous ballad that Adderley turns on its ear, then upside down and backwards, retrograde, and every other way in an amazing display of power and beauty and sheer melodic inventiveness.

Without question, the discreet interpretations of the Johnny Mercer and Cole Porter songs, respectively, found on Somethin’ Else have long been considered part of jazz’s alluring mystique. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. but, to my delight, what I found as I walked through the differing syncopations, is that my taste in Jazz runs along the same lines as my taste in rock.There's the faintest hint of accompaniment by the rhythm section of Blakey/Jones/Jones but mostly it's just Cannonball Adderley blowing his heart out. The album was recorded during Adderley's membership in the Miles Davis' First Great Quintet, and it also marks one of the few recordings Davis made as a sideman after 1955. Sourced from the original analogue master tapes and housed in a mini-LP-style gatefold sleeve, Mobile Fidelity’s numbered-edition hybrid SACD pays tribute to the record’s merit and includes the bonus track “Allison’s Uncle. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition.