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. Larkin, Colin (2007). The Encyclopedia of Popular Music (5thed.). Omnibus Press. ISBN 978-0857125958. Cannonball Adderley’s Somethin’ Else, one of the few albums featuring Davis as a sideman, is calm and uncluttered and direct, each line and phrase contributing something crucial to the whole. Indeed, Somethin’ Else is a kindred jazz classic, a sibling of sorts to Kind of Blue. Among other sterling attributes, it shares that landmark’s emphasis on stark, easy-to-appreciate melodies. 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. 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.

The saxophonist had formed his own band with his brother, Nat Adderley, on cornet and had signed a record contract with Savoy Records after his success at Café Bohemia. The piece plays out with muted trumpet reprising the theme before one again the opening chords return albeit with a lighter feeling to draw the piece to a close. Davis seems t have the final word with a second soloas the piece concludes.Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1955. He was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group. [6] He joined the Davis band in October 1957, three months prior to the return of John Coltrane to the group. Davis's notably appears on Adderley's solo album Somethin' Else (also featuring Art Blakey and Hank Jones), which was recorded shortly after the two met. Adderley then played on the seminal Davis records Milestones and Kind of Blue. This period also overlapped with pianist Bill Evans' time with the sextet, an association that led to Evans appearing on Portrait of Cannonball and Know What I Mean?. [6] Manfred Mann – The Five Faces Of Manfred Mann". Discogs. September 11, 1964 . Retrieved April 4, 2023. a b c d Wilson, John S. (August 9, 1975). "Cannonball Adderley, Jazzman, Dead". The New York Times. Associated Press. ISSN 0362-4331 . Retrieved October 31, 2021. 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.

Adderley’s band was as tight and compact as he was in stature, and it’s brilliant to hear on this record, the songs on which Miles Davis steps in, participating in like style and fashion, yet letting those signature Miles Davis elements shine through ... he was truly a generous man. Art Blakey will attest to that, so will Bill Evans, Oscar Peterson, Sara Vaughan, Dianh Washington, John Coltrane, Sergio Mendes, Wes Montgomery and Nancy Wilson ... Brian Jones of The Rolling Stones is said to have named both of his children Julian, in honor of Mr. Adderley ... and I’m sure I’ve left out a dozen more. Following in their footsteps, Adderley also taught and becameband director at Dillard High School in Fort Lauderdale until 1950. Milkowski, Bill (2012). "Junior Mance: Saved By A Cannonball". JazzTimes . Retrieved January 31, 2023. MURRAY HORWITZ: I think one of the exciting things about jazz music is that you're always trying to catch lightning in a bottle as a listener and certainly as a player. That's what Cannonball Adderley did on March 9, 1958, and the result was, as you pointed out, some of the best work by two of the best soloists in jazz history. It's on the CD Somethin' Else on the Blue Note label. For NPR Jazz, I'm Murray Horwitz. Julian Edwin ‘Cannonball’ Adderley’s arrival on the New York scene in 1955 not only caught everyone by surprise but also blew them away.However, careful listening brings to the fore the difference in their approach to the material and how this complements and elicits the best from both musicians.

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. His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child's Introduction to Jazz, released on Riverside Records. [6] In 1962, Cannonball married actress Olga James. [2] Band leader [ edit ] Adderley, Nat (Nathaniel)". Encyclopedia of Jazz Musicians. Jazz.com. Archived from the original on August 30, 2013 . Retrieved December 13, 2012.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.