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Somethin' Else | 
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| Artist: Cannonball Adderley
Label: Blue Note Records
Category: Music
List Price: $11.98
Buy New: $7.97
You Save: $4.01 (33%)
New (45) Used (16) Collectible (1) from $6.68
Rating:  50 reviews
Sales Rank: 954
Format: Original Recording Reissued, Original Recording Remastered
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.5 x 4.9 x 0.4
MPN: 95329
UPC: 724349532922
EAN: 0724349532922
ASIN: B00000I41J
Release Date: March 9, 1999
Shipping: Eligible for Super Saver Shipping
Availability: Usually ships in 24 hours
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| Tracks:
| • | Autumn Leaves | | • | Love For Sale | | • | Somthin' Else | | • | One For Daddy-o | | • | Dancing In The Dark | | • | Bangoon |
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| Editorial Reviews:
Amazon.com
When alto saxophonist Cannonball Adderley culled together this quartet, he grabbed three champions from seemingly disparate schools to complement his flinty solos: Miles Davis, the king of cool; Art Blakey, the thundering force of hard bop; Hank Jones, a veteran of swing; and Sam Jones, a versatile bassist adaptable to nearly any setting. The results are one of Blue Note's most beloved albums. The open-ended beauty of "Autumn Leaves," which features Davis beautifully stating the melody on muted trumpet, sounds like it could easily be an outtake from Kind of Blue (which it isn't). The midtempo title track provides the centerpiece of this classic as Adderley echoes Miles's swaggering melody before both unravel wonderful solos. A must-have Blue Note album. --John Murph
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| Customer Reviews: Read 45 more reviews...
Nice sideman appearance by Cannonball August 16, 2008
1 out of 1 found this review helpful
Conventional wisdom holds that this is a Miles Davis album, and that is pretty much right - it's an album led by Miles Davis, under Cannonball Adderley's name, set up to showcase the altoist who had just joined Davis's band. You can hear plenty of fine playing by Cannonball, but it's in Davis's world - the earthiness of many later Cannonball recordings isn't present.
The similarities are particularly obvious on the classic interpretation of "Autumn Leaves" and the Davis original "Somethin' Else". "Love for Sale" was recorded under Davis's leadership 3 months later, with Cannonball present, and it's interesting to compare the two approaches. (I prefer the Davis version, but they are both superb.)
Some people go further and compare this album to Kind of Blue. Yes, there are some similarities, particularly in the mood, but the "cerebralness" of the later album is largely absent on Somethin' Else. Hank Jones and Art Blakey have a very different, more conservative feel than Bill Evans and Jimmy Cobb. And the funky "One for Daddy-O", a Nat original and the one tune that really screams "Cannonball Adderley album!", wouldn't really fit in on a Davis album, much less Kind of Blue.
Overall a great album, and essential for most jazz fans.
This Album is Somethin' Else, period June 3, 2008
2 out of 2 found this review helpful
If anyone ever wanted to know what Julian Cannonball Adderly is all about, go no further than track one of this album. He leaves it all on the table on Autumn Leaves. His solo there is so intense and emotion filled that it leaves you breathless.
Miles takes a back seat to Cannonball, but not because its Cannonball's gig, but because Cannonball's playing has no end to its emotional depth. It is a cliche to say it, but it is simply something else, period. And Hank Jones piano playing cannot be improved upon. It is exquisitely precise and the chords he drops makes the spine tingle. This is a good album, period.
Fifty stars
a taste of honey April 24, 2008
2 out of 2 found this review helpful
a brilliant cd,with an allstar cast of musicians on this session.this has been a mainstay jazz recording in the annals of jazz music,since it's release,in 1958.wonderful tracks on here,great playing from miles davis,who plays with a mute on this recording.cannonball adderly,never sounded better.this is one of the greatest jazz albums ever produced,so do yourself a favor,and go out and grab this one.
Never get tired of this one April 6, 2008
2 out of 2 found this review helpful
Whenever I need a lift, this is a good choice to provide one. This is also one of those CD's that, when I'm facing my music collection and not sure what I'm in the mood for, this is one of my "default" CD's. (The others are Jazz in Silhouette and Billy Taylor Trio.) You just can't go wrong when Miles Davis is involved, and Adderley brings a whole new dimension to the definition of a small horn section. Blakey's unmistakeable ferocity in driving the tunes provides a great backbone for the other musicians to build on, and each listening brings its own indescribable pleasure. I would say this is a CD that should be added to the collection of any serious jazz fan, and it would probably be a good choice for someone looking to broaden a non-jazz oriented music collection.
 RVG Remaster vs. Previous Edition: Something Better or Just Something Else? March 26, 2008
4 out of 4 found this review helpful
I ordered the RVG Remaster without realizing I had the previous edition (remastered by Ron McMaster) in my collection. An A-B comparison reveals that the previous edition has depth, subtlety, dynamic nuance, with the opening rhythmic figure by Hank Jones followed by the sustained pianissimo whole notes of Cannonball and Miles establishing an inviting mystique, then building on this mood right up to the first chorus of what is probably the most celebrated recorded version of "Autumn Leaves" in jazz. The RVG remaster starts with "hot" mics on the piano, then on both horns, with little difference in dynamic extremes. In fact, dynamics, ensemble textures, and stereo separation become meaningless as Rudy seems intent simply on making whatever instrument is temporarily featured as loud as possible. Having been spoiled by the previous edition, not to mention Miles' sound on his classic Columbia sessions, I can't stay with the RVG remaster, though admittedly some listeners attracted to the 1950s hard bop Blue Note sound may react differently.
The bonus track on the previous edition is titled "Alison's Uncle"; on the new edition, it's "Bangoon."
I have hundreds of Van Gelder-engineered sessions past and present and have yet to hear a remaster that is a dramatic improvement (in the case of "Somethin' Else" the opposite seems true). Apparently Blue Note had second thoughts about the project and has passed it on to Concord, though the majors are increasingly pushing downloaded tracks and the bigger profit margins they bring (no packaging costs, no need to pay writers for liner notes). The RVG reissues were at least welcome for assuring the continued circulation of vital music and for the updated, frequently informative and insightful liner notes. Unfortunately, we've reached yet another stage in the digital revolution. It's exceedingly rare now to find domestic jazz releases, whether new or reissues, of any sort. Like other collectors, I've had to look to Spain, Japan, Italy, Germany, Holland, etc. for reissues (and first-time releases) of historically significant, indispensable American music. (I'm left to wonder if Ken Burns' absorbing PBS series on jazz merely provoked complacency or, worse, a backlash against the music.)
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