Cannonball Adderley: Somethin' Else

Mobile Fidelity UDSACD 2270
Stereo Hybrid
Jazz
Cannonball Adderley
Sourced from the Original Analog Master Tapes: Hybrid SACD Presents 1958 Landmark in Definitive Sound
Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements – not to mention the reference-grade production and inclusion of the definitive renditions of two jazz standards.
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Review by Mark Werlin - January 13, 2025
"Somethin' Else" was recorded in a single session at Rudy Van Gelder's Hackensack studio on March 9, 1958. It was a busy time for the 30 year-old alto player. On February 4, the Miles Davis Sextet with Adderley recorded most of the tracks that would appear on "Milestones"; a second session completed the album on March 4. Later that same day, Adderley began recording "Cannonball's Sharpshooters" with his own band, and completed that record on March 6. Sessions for a Gil Evans big band album with Adderley as featured soloist followed, in April and May. And on May 26, another session with a reconstituted Miles Davis Sextet (Garland and Jones out, Evans and Cobb in) recorded the unfinished album that has recently been rebranded "Birth of the Blue".
Several biographers of Miles Davis either completely fail to mention “Somethin’ Else” (John Szwed, Quincy Troupe), or give the session very little attention (Jack Chambers). Chambers, at least, correctly notes that Davis was the actual leader of the March 1958 session; Miles called nearly all the tunes, wrote the title track, and played the head melodies to “Autumn Leaves” and “Love for Sale” with pianist Hank Jones while Adderley sat out until his solo choruses. It’s Miles who asks producer Alfred Lion “Is that what you wanted, Alfred?” Presumably, the answer was “yes”. Leonard Feather’s original liner notes, reproduced on the MoFi SACD (you might need a magnifying glass), don’t shed light on how or why the session was recorded. Up to that point, Adderley had recorded for Savoy and Emarcy. He wasn’t a Blue Note artist, and Miles hadn’t recorded for Blue Note since March 1954. Jack Chambers writes that the session might have been an act of reciprocity for Adderley joining – and energizing – the Miles Davis Sextet.
However it came together, the encounter between the lyrical minimalist Davis and the extrovert Adderley produced some of the finest jazz in either of their catalogues. Davis is in a more pensive mood than a few days earlier, when he breathed fire on "Dr. Jackle". He sings the lyrics to "Autumn Leaves" through his muted trumpet with studied nonchalance. Adderley's solo, with its smoky breathiness, abrupt rhythmic shifts and flutters, and descent into the alto's low octave, carries a suggestion of Davis' influence. Throughout, the dialogue between the two horns conveys a more relaxed character than in Davis' musical (and personal) interactions with John Coltrane. Perhaps the return to RVG's studio after a gap of four years, and the familiar presence of producer Alfred Lion, helped Davis lower his guard.
The choice of Hank Jones was inspired; his elegant playing is featured prominently on “Autumn Leaves”, which Davis told Feather was inspired by pianist Ahmad Jamal. Jones’ extended closing to “Autumn Leaves” is exquisite. Of the three pianists in and out of the Davis group around that time, Red Garland, Bill Evans, and Wynton Kelly, only Evans could have conceived and performed something like this passage (listen to Evans’ performance on “Celia”, from the Mingus album “East Coasting”). Drummer Art Blakey plays with welcome restraint on the slow tunes, and powers the band on the Nat Adderley composition “One For Daddy-O”. Sam Jones doesn’t have the forward-looking approach of Davis’ regular bassist Paul Chambers, but his rounded tone and excellent time anchor the ensemble. The SACD includes an extra track from the session, “Allison’s Uncle (aka Bangoon)” that was left off the original LP but has appeared on most reissues.
Collectors who already own Steve Hoffmann and Kevin Gray’s Analogue Productions SACD Cannonball Adderley: Somethin' Else, which has dozens of recommendations from HRAudio site users, will want to know how the new MoFi version sounds in comparison to the AP, so I’ll cut to the chase: the MoFi version is mastered a bit louder and has a ‘warmer’ midrange and firmer lows, especially noticeable on Hank Jones’ piano and Sam Jones’ bass. MoFi’s SACDs of Miles Davis albums, similarly, are less ‘forward’ or ‘bright’ than the earlier Sony Japan SACDs of the same titles, so the sonic character of the new release of “Somethin’ Else” should not be surprising.
“Somethin’ Else”, Miles Davis: Milestones and Miles Davis: Seven Steps to Heaven, were all mastered by Neal Harris, assisted by Shawn R. Britton. Harris is a highly qualified engineer, and an accomplished jazz guitarist-educator. His presence on MoFi’s staff signals the label’s continuing commitment to the SACD format.
"Somethin Else" has been remastered and reissued many times on CD, SACD, 24/192 download (the mono mix), and vinyl. I own the Blue Note Classic Vinyl LP, and have heard the MoFi 45rpm SuperVinyl 2-LP release. Audiophiles who don’t have the budget for a $125 vinyl set, take heart; the $35 SACD is a worthwhile investment. The SACD doesn’t give up much to the SuperVinyl version.
MoFi’s upcoming releases include a two-LP set of Davis’ 1974 live album “Dark Magus”, which was previously issued on SACD in 2002. I hope that MoFi will consider reissuing on SACD the two 1975 Japan live concerts, “Agharta” and “Pangaea”, both of which feature more coherent and compelling performances and higher quality sound recordings than “Dark Magus”.
Copyright © 2025 Mark Werlin and HRAudio.net
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Comment by Postercowboy - January 26, 2025 (1 of 1)
Has anyone compared this SACD to the japanese Bluray-Audio? Personally, I always preferred the BR-A over the AP SACD, but have not heard the MoFi version.