Somethin' Else

Product Information

Stanton, Scott (September 1, 2003). The Tombstone Tourist: Musicians. Simon and Schuster. ISBN 9780743463300 . Retrieved August 1, 2018– via Google Books.

Julian Edwin " Cannonball" Adderley (September 15, 1928–August 8, 1975) was an American jazz alto saxophonist of the hard bop era of the 1950s and 1960s. [2] [3] [4] Listening to the album again reveals how much respect Miles had for Cannonball, and while it is easy to jump to the conclusion that the trumpeter was the driving force behind the success of the record (Davis is arguably at the peak of his powers at this point in his development and playing magnificently). His performance that night created an air of excitement that spread around the jazz scene in New York City that the heir to Charlie Parker had arrived. Julian Edwin Adderley was born on September 15, 1928, in Tampa, Florida to high school guidance counselor and cornet player Julian Carlyle Adderley and elementary school teacher Jessie Johnson. [7] [8] Elementary school classmates called him "cannonball" (i.e., "cannibal") after his voracious appetite. [7] a b Cook, Richard; Brian Morton (2006) [1992]. "Julian 'Cannonball' Adderley". The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8thed.). New York: Penguin. pp. 9. ISBN 0-14-102327-9.

Notes

This contrast also build tremendous tension that is almost palpable, and it is to the credit of the rhythm section that the differing approaches of the two horns are resolved and supported so ably. Manhattan Records, a Division of Capitol Records, Inc.; 1370 Avenue of the Americas; New York, NY 10019 (differs from Cannonball Adderley - Somethin' Else in that does not state "Printed in France"). The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet. Cannonball's first quintet was not very successful; [13] however, after leaving Davis' group, he formed another group again with his brother.

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. Randel, Don Michael (1996). "Adderley, Cannonball". The Harvard Biographical Dictionary of Music. Cambridge, Massachusetts: Harvard University Press. p. 5. ISBN 0-674-37299-9. In July 1975, Adderley suffered a stroke from a cerebral hemorrhage and died four weeks later, on August 8, 1975, at St. Mary Methodist Hospital in Gary, Indiana. [2] He was 46 years old. [2] He was survived by his wife Olga James Adderley, parents Julian C. and Jessie L. Adderley, and brother Nat Adderley. [16] He was buried in the Southside Cemetery, Tallahassee. [17] Legacy [ edit ] 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. 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.a b c "The Cannonball Adderley Biography". Cannonball-adderley.com. September 15, 1928 . Retrieved July 21, 2017. Havers, Richard (March 9, 2021). " 'Somethin' Else': Cannonball Adderley And Miles Davis' Musical Discourse" . Retrieved July 14, 2021.

Cannonball moved to Tallahassee when his parents obtained teaching positions at Florida A&M University. [9] Both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s. [10] Adderley moved to Broward County, Florida, in 1948 after finishing his music studies at Florida A&M and became the band director at Dillard High School in Fort Lauderdale, a position which he held until 1950. [11] 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.

As Billboard magazine said in October 1958 in its review of the LP, “Here’s one of the outstanding jazz sets released in the past few months and perhaps one of the best of the year. It features some truly fine, sensitive trumpet work by Miles Davis, and at times, some of the best work yet waxed by Cannonball Adderley. Both ‘Autumn Leaves’ and ‘Love for Sale’ are handed superb treatments by Davis, and Adderley shines with his solo on ‘Dancing in the Dark.’ An album that will be important to all jazz fans.” 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. Cerulli, Dom (27 November 1958). "Review of Somethin' Else" (PDF). DownBeat . Retrieved 20 November 2023. Before the session for Milestones, Cannonball had his own record date for Blue Note and Miles did him the honour of playing sideman to his saxophonist. From the rather austere opening chords from pianist Hank Jones and the horns, to the melancholy statement of the theme by Miles to Adderley’s effervescent solo with his blues drenched alto sound.