Cannonball Adderley - Somethin' Else

[BlueMiles]

Ah, “Somethin’ Else” by Miles Davis…um, I mean Cannonball Adderley. I had almost forgotten about this one, which I’ve had on vinyl for a long time. I now have it on CD and I’m enjoying it greatly. Indeed, I now regard it as at least a minor masterpiece.

I am definitely of the camp who view this as a Miles Davis album. To be sure, an awful lot of Blue Notes are highly democratic and you could make a blind guess on anyone as the leader. But other than the ballad “Dancing in the Dark,” which is strictly a feature for Cannonball, this album has Miles' stamp all over it. He usually states the melody alone, usually solos first, often solos a second time, contributes a composition (the title track yet!), and even his famous voice shows up at the end of a track (“Is that what you wanted, Alfred?”).

The record dates from 1958, the same year as two of Miles’ greatest: “Milestones” and “Porgy and Bess” (and about a year before “Kind of Blue”). Miles is in absolute peak form, every note played masterfully and in his own unique way. Miles would later revisit “Autumn Leaves” and “Love for Sale,” but the versions here are excellent--even definitive. The title track has something of the quality of the great “Sid’s Ahead.” “One for Daddy-O” calls on the blues abilities of the players, and they don’t come up short (and don’t rely on clichés).

I also enjoy the playing of Hank Jones, whom I’m starting to believe is among the underrated “great” jazz pianists. I had originally been disappointed in Art Blakey's playing here. His work is not as fiery as usual, but he does some cool and subtle things on these tracks.

Yeah, Cannonball is pretty good too, but I say it’s a Miles Davis album.

[stonemonkts]

Yeah, that session was another gem from 1958. Autumn Leaves is a milestone (of course Miles was inspired by Ahmad Jamal's earlier readings of those standards, but this album stands alone, imo).

It is definitely led by Miles. I don't think that part is in question, even though Adderley's name is stamped on it.

[John L]

Miles working band at the time was a quintet with Adderley, although with Philly Joe, Chambers, and Garland behind them. I wonder why they recorded Somethin' Else with someone else?

Not that I would want anybody but Hank Jones on the keys for this one!

[Capt.W./TX.]

In the liner notes Miles acknowleges that Jamal was the inspiration for the version of "Autumn Leaves".

Specifically, the opening piano/bass line is a simplified version of the one Jamal used in the version his trio (with Ray Crawford on guitar) recorded for Epic records a few years earlier. From the quotes I've read over the years, Cannonball was nearly as enamoured of Ahmad Jamal's musical concepts as Miles was.

The title track reflects Davis' then-current preoccupation with modal inprovising.

Blakey is indeed more subdued than usual, but I believe this is more an
example of his musical sensitivity and willingness to adapt to a different musical concept than anything else. Except for "Love For Sale", none of the tempos are especially bright; most of the tunes seemed to call for discreet, less-cluttered accompaniment than was the norm for Blakey. This, in turn, fits in with the openness and the 'floating' sensation of the music that Miles and Cannonball seemed to be striving for.

The great jazz critic Martin Williams once pointed out that jazz musicians' preoccupation with the 'modal' sound lasted for decades and finally spilled over into the soul and rock music of the 60's and 70's. In fact, it's still very much with us today.

[Chris D]

I always use this album as Exhibit A when anyone says that Blakey was just a basher.

It's just a sublime piece of work, and a great one to spring on guests.

[Ron Thorne]

What great reflections and observations, especially with respect to Blakey!

While I also love this album and feel that it's a minor masterpiece, it's definitely not my favorite or definitive Cannonball recording. I dig much of his later, earthier, funkier stuff such as Nippon Soul [live], Country Preacher "Live" at Operation Breadbasket, and Black Messiah [live], (for instance) even more in some ways.

Apples 'n' oranges, though.

Finally, what's with this mindless comment on AMG regarding this group and recording? "This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece." Huh?

Think and post.

[Gentle Giant]

This was probably, like, my fifth-ever non-fusion jazz album I owned. In addition to the wonderful playing, classic cover, and all that, I have a niece named Alison, so the tune "Alison's Uncle" is about me!

[Richardo Caerleoni]

Originally Posted by Gentle Giant

This was probably, like, my fifth-ever non-fusion jazz album I owned. In addition to the wonderful playing, classic cover, and all that, I have a niece named Alison, so the tune "Alison's Uncle" is about me!

GG - Then you're very lucky!

A great track and a classic album from all concerned. Hank Jones also deserves a mention. So often overlooked or paid lip service to. "A great touch, tasteful etc." He really provides a foil to the horns and holds the thing togther.

Off to play it again!

[Jimmy J]

I love the version of "Autumn Leaves" on this too - never knew it was Jamal-stylee. Then again, I have to admit to not owning any Jamal. I need a heads-up as to what is cooking. The golden rule is:

It has to swing! None of this "Cat trapped in a piano" palaver.

[jazzy mary]

Somethin' Else was one of the first vinyls I ever bought, I still have it and have it in CD version too, of course. I love, love, love it!

Jimmy J, you need to get some Ahmad Jamal asap!

[BlueMiles]

I also need to explore Ahmad Jamal. I have long been aware that he was an influence on Miles, but I've hardly ever heard a thing by him.

The opening to "Autumn Leaves" is one of the coolest introductions of all time.

[Richardo Caerleoni]

Originally Posted by BlueMiles

I also need to explore Ahmad Jamal. I have long been aware that he was an influence on Miles, but I've hardly ever heard a thing by him.

The opening to "Autumn Leaves" is one of the coolest introductions of all time.

Ahmad Jamal...? Try "THE AWAKENING" on Impulse - c. 1969 - absolutely staggering. Includes Dolphin Dance and Stolen moments plus some originals - but the mastery of space and dynamics ! It just blows me away. A classic album. He was in Copenhagen a few months ago - and he is still as good. A Giant. No wonder Miles worshiped him.

[stonemonkts]

Originally Posted by BlueMiles

I also need to explore Ahmad Jamal. I have long been aware that he was an influence on Miles, but I've hardly ever heard a thing by him.

The opening to "Autumn Leaves" is one of the coolest introductions of all time.

Miles copied Jamal's opening note for note, iirc. I remember one day WKCR did an afternoon playing Jamal and Miles versions back to back. The similarities were startling. Of course Miles never denied Jamal's influence.

[John L]

Originally Posted by Richardo Caerleoni

Ahmad Jamal...? Try "THE AWAKENING" on Impulse - c. 1969 - absolutely staggering. Includes Dolphin Dance and Stolen moments plus some originals - but the mastery of space and dynamics ! It just blows me away. A classic album. He was in Copenhagen a few months ago - and he is still as good. A Giant. No wonder Miles worshiped him.

This is my favorite Jamal album too.

[Kevin Bresnahan]

Originally Posted by Gentle Giant

This was probably, like, my fifth-ever non-fusion jazz album I owned. In addition to the wonderful playing, classic cover, and all that, I have a niece named Alison, so the tune "Alison's Uncle" is about me!

In the past 10 years or so, someone discovered a copyright for the tune Blue Note originally called "Alison's Uncle" by Nat Adderley. It is now called by its given name of "Bangoon" on the latest CD edition.

Kevin

[Capt.W./TX.]

Note to stonemonkts:

As I noted in my earlier post, the "Autumn Leaves" intro on "Somethin' Else"
is a simplification, not a 'note-for-note copy' of Jamal's intro.

Specifically, the original Jamal intro is a two-measure ostinato riff; the Davis/Adderley version is only one measure (it uses just the first bar of the Jamal version-and drops the last eighth note). Over this, Miles and Cannonball play two-horn harmonies. While all this is going on, Blakey is playing a very discreet (for him!) Latin rhythm.

From that point on the two versions are markedly different...

[Incidentally, both versions are in the same key-G minor; that-and the similar tempos (the Jamal version is a bit faster)-would be enough would be enough to convince a lay person with a better-than-average ear that one was a note-for-note copy of the other.]

[BlueMiles]

That Jamal influence must have happened pretty quickly. My understanding is that he first began recording about the time Miles put together his great quintet of Trane, Garland, Chambes, and Philly Joe.

[Capt.W./TX.]

According to Miles (in his autobiography "Miles"), he first heard Jamal in 1953.

The classic quintet did form until 1955. Miles had already done several dates
for Prestige in which his choice and treatment of standard tunes was influenced by Jamal's trios.