Limited 180gm vinyl LP pressing. Legendary trumpeter Miles Davis' unmistakable rasp at the end of "One for Daddy-O," makes it clear he wasn't just playing the role of sideman on Somethin' Else, the album by Cannonball Adderley. The depth of their musical camaraderie lifts this session up throughout, from the breathtaking performance of "Autumn Leaves" to the thrilling title track. Hank Jones/Sam Jones/Art Blakey round out the quintet. Mastered By Kevin Gray From Original Master Tapes!
The great Julian "Cannonball" Adderley rose to prominence in the hard-bop era of the 50's and 60's. After a successful stint with Miles Davis' sextet, including being featured on the seminal Davis records Milestones and Kind of Blue, Adderley formed his own quintet with brother Nat on trumpet and cornet, and soon became the driving force behind the soul-jazz movement of the 1960's and 70's. The rare album presented here was recorded live in Montreal in 1975 with the legendary quintet - shortly before Adderley's untimely demise of a sudden heart attack at the age of 46 in August of that year. The lineup for the quintet here is Cannonball Adderley (tenor sax); Nat Adderley (trumpet); Michael Wollf (piano); Roy McCurdy (drums, percussion) and Walter Booker (bass). Featuring the Cannonball classics "Mercy, Mercy, Mercy" and "Country Preacher." All selections newly remastered.
Cannonball Adderley's Only Blue Note Album Features Miles Davis, Art Blakey, Sam Jones, and Hank Jones: Somethin' Else Includes Reference Versions of 'Autumn Leaves' and 'Love for Sale' SOURCED FROM THE ORIGINAL ANALOG MASTER TAPES: HYBRID SACD PRESENTS 1958 LANDMARK IN DEFINITIVE SOUND Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. 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. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of it's Hall of Fame personnel, enthusiasm of it's participants, and sophistication of it's arrangements - not to mention the reference-grade production and inclusion of the definitive renditions of two jazz standards. Sourced from the original analog 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.' This collector's edition provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers - an arrangement that occurred as a result of Adderley having joined Davis' sextet a year prior. That vibrancy reveals itself openly on a reissue that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would in front of you on a stage. Jones' foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis? Lifelike in timbre, naturalism, purity, and presence. For reasons that extend far beyond the outstanding playing and flawless repertoire, Somethin' Else is a record you'll always want to watch and hear come together. As veteran critic Bob Blumenthal observed writing about the album four decades after it's release: 'The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer.' Such emotion courses throughout every passage, and no where more obviously than on 'Autumn Leaves' and 'Love for Sale.'
The Cannonball Adderley Quintet - Live In Montreal May 1975 / One of the Cannonball Adderley Quintet's final performances recorded in Montreal on May 3, 1975 three months before his untimely passing. The great Julian "Cannonball" Adderley rose to prominence in the hard-bop era of the 1950's and 60's. After a successful stint with Miles Davis's sextet, including being featured on the seminal Davis records 'Milestones' and 'Kind of Blue', Adderley formed his own quintet with brother Nat on trumpet and cornet, and soon became the driving force behind the soul-jazz movement of the 1960's and 70's. No one would have guessed that the 46-year-old DownBeat Jazz Hall of Famer was in the last few months of his life when he stepped on stage at Montreal's In Concert Club on May 3, 1975. And nothing about the performance suggests that the hard bop sax legend was anything but at the top of his game. The 6-track set includes the Grammy Hall of Fame inductee hit tune "Mercy Mercy Mercy, " with Adderley's brother Nat on trumpet. The lineup for the quintet here is Cannonball Adderley (alto and soprano sax); Nat Adderley (trumpet); Michael Wolff (piano); Roy McCurdy (drums, percussion) and Walter Booker (bass). Originally released in 1977 on Dobre Records this LP has been unavailable on vinyl for over 40 years and makes it's return pressed on 180-gram vinyl. Features liner notes by music historian Cary Ginell who wrote the book "Walk Tall: The Music and Life of Cannonball Adderley". Notes include interviews with quintet members Michael Wolff and Roy McCurdy.
The Ultimate series presents Best of collections with a difference - today's top jazz artists select and share their thoughts on their favorite performances by Verve jazz giants. Before he died at the age of 46, Julian "Cannonball" Adderley created a tremendous legacy of work, the influence of which is still heard today. In the liners here, his longtime pianist, Joe Zawinul, reflects on Cannonball's talent. Adderley is featured here with Nat Adderley, John Coltrane and Wynton Kelly among others.
This collection, selected by Zawinul and Bob Belden, represents the cream of Zawinul's time with Adderley and ranging the supremely soulful "Mercy, Mercy, Mercy" to pieces like "Ndo Lima" and "Dr. Honours Causa" which previewed the later developemts that Zawinul made with Weather Report. Five of these 10 performances make their first appearances on CD.
180-gram black vinyl. Workin' is the 1992 album recorded live at jazz club Subway, in Cologne, Germany. The quintet - led by Nat Adderley on cornet, Rob Bargard on piano, Jimmy Cobb on drums, and Walter Booker on bass - features special guest Vincent Herring on alto-saxophone. Together they perform six tracks including the Nat Adderley written jazz standard "Work Song", which is a great contribution to American popular music and jazz.
This is one of three albums made by one of the best formations led by saxophonist Julian "Cannonball" Adderley during his whole career. This "Cannonball" Adderley Quintet included his brother Nat Adderley on cornet, pianist Junior Mance, bassist Sam Jones and drummer Jimmy Cobb. Together they made the classic LPs Sophisticated Swing, Cannonball Enroute and the present album Cannonball's Sharpshooters. THE COMPLETE ALBUM + 1 BONUS TRACK - 180-gram VIRGIN VINYL - LIMITED EDITION
Cannonball Adderley Quintet in Chicago is revered among jazz aficionados as an essential document of late 1950s hard bop. It captures two of the greatest saxophonists in jazz, Adderley and Coltrane, at a time when they were both at a creative peak. The album is a vital recording from a golden era in jazz, featuring a rare and electric partnership between two saxophone giants. It's hard bop foundation, infused with hints of modal jazz, places it among the most important recordings of it's time. The album was recorded the February 3, 1959 during a time when Adderley was playing as part of Miles Davis' group, and it captures the quintet during a pivotal moment in jazz history. On Cannonball Adderley Quintet in Chicago, you can hear Coltrane at a transitional stage, balancing between his earlier bebop style and the modal, more avant-garde approaches he would later pursue. His interaction with Adderley is fascinating because it blends his dense harmonic language with Adderley's more traditional, bluesy approach. Cannonball Adderley had been recruited by Miles Davis in 1957, joining what would become one of the most influential jazz groups of all time. Adderley's style was deeply rooted in the blues, and he brought a strong sense of soulfulness and swing to the Davis group. While Davis' style was often cool and restrained, Adderley's alto saxophone was the opposite: robust, fiery, and emotional. Adderley's command of the instrument was remarkable, and his ability to balance technical prowess with a highly accessible, bluesy feel is on full display throughout Cannonball Adderley Quintet in Chicago. His solos are expressive and lyrical, often imbued with a sense of joy and exuberance. This makes for a perfect contrast to Coltrane's playing, which at this point was becoming more dense and harmonically complex
This 1958 jazz masterpiece features Cannonball Adderley alongside Miles Davis in a rare, high-caliber collaboration that defines the hard bop era. Known for it's sophisticated atmosphere and the iconic rendition of "Autumn Leaves," the album is widely considered one of the greatest jazz recordings of all time.
MASTERED FROM THE ORIGINAL MASTER TAPES AND LIMITED TO 10,000 NUMBERED COPIES Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. 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. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of it's Hall of Fame personnel, enthusiasm of it's participants, and sophistication of it's arrangements - not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards. Strictly limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and enhances the intimate program for generations to come. Offering reference-caliber sonics, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers - an arrangement that occurred as a result of Adderley having joined Davis' majestic sextet a year prior. The premium packaging and beautiful presentation of the UD1S Somethin' Else pressing befit it's extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art - and everything involved with the album, from the iconic photos to the gorgeous finishes. The vibrant potency reveals itself openly on an analog set that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. 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. Jones' foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing the definition of rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis? Breathtakingly lifelike in timbre, naturalism, purity, and presence. This collector's version takes you there - there being Rudy Van Gelder's legendary New Jersey studio in March 1958 to witness it all unfold, again and again.
Cannonball's Sharpshooters, originally released in 1958, documents alto saxophonist Julian "Cannonball" Adderley leading a quintet featuring cornetist Nat Adderley, pianist Junior Mance, bassist Sam Jones, and drummer Jimmy Cobb. Recorded on March 4 and 6, 1958, at Bell Sound in New York City, the session captures the group just days before Adderley's recording session for Somethin' Else with Miles Davis, placing the album at a pivotal moment in his late-1950s trajectory. The ensemble presents a compact hard-bop program reflecting Adderley's blues-inflected phrasing alongside the harmonic language of modern bebop. The repertoire balances standards, bop vehicles, and originals, including Tadd Dameron's "Our Delight" and Thelonious Monk's "Straight, No Chaser." Adderley's trademark exuberance while leading an all-star lineup of 1950s jazz defines the character of this session. The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.
