Somethin' Else

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Jazz has no place for stagnation. I know one thing for sure. You can’t repeat yourself night after night when you’re working with Miles Davis. Miles and Coltrane are creating all the time and the challenge is tremendous…Miles group is at is should be. It’s a laboratory. New and exciting music is played each night… I learn so much being around him.”

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. This time it is the trumpeter that takes the second solo and does so with a graceful and perfectly weighted offering on open horn. 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. 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").

However, the title was incorrectly listed as ‘Alison’s Uncle’ as prior to the session Nat Adderley’s wife had given birth to a daughter named Alison, and thus Cannonball became Alison’s Uncle. Brown, Geoffrey F. (August 28, 1975). "The Cannonball Rests, But Brother Nat Carried On". Jet. pp.58–61.

a b Mathieson, Kenny (October 4, 2012). "Adderley, Cannonball [Julian Edwin]". Oxford Music Online. Vol.1. Oxford University Press. doi: 10.1093/gmo/9781561592630.article.a2226820.

a b c "The Cannonball Adderley Biography". Cannonball-adderley.com. September 15, 1928 . Retrieved July 21, 2017. Blue Note Records is a label of Manhattan Records, a Division of Capitol Records, Inc.; Manufactured for Manhattan Records and Capitol Industries/EMI, Inc., by EMI France. The same phenomena happens in music: It is far easier to follow a theme when it is rendered cleanly and with conviction, when care is taken to convey the shape and the meaning and the mysteries lurking behind the notes. The jazz musicians who headlined in the 1950s understood this: Led by Miles Davis, the taciturn trumpet prophet who conveyed heartbreak (along with a zillion other emotions) in highly distilled two and three note codes, they developed an aesthetic of carefully considered austerity. In this scene, clarity was prized. Core truths expressed cleanly ruled over everything else – including, crucially, flashy bebop displays of technical prowess. A.B. SPELLMAN: Yeah, this is Miles' composition, "Somethin' Else," and it does have that kind of antiphony, that call and response that was at the very root of jazz. Jazz started here, in a manner of speaking. And so the voices, which are almost human voices, in a way, are of two guys who have a lot to say to each other. It's a very relaxed conversation, but it's a meaningful conversation as well.

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 truth is perhaps rather different with the benefit of hindsight, and knowing how the careers of each of the two musicians would develop in the years that followed.Following Miles’ majestic solo, Cannonball sounds a little glib as if waiting for inspiration to arrive.This it does in the form a glorious two horn dialogue that lifts the altoist to new heights.