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Jazz - Released January 1, 2011 | Concord Records, Inc.

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
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Jazz - Released January 1, 1999 | Blue Note Records

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
Cannonball Adderley gave up his own band in 1957 when he had the opportunity to become a sideman in Miles Davis' epic ensemble with John Coltrane, eventually resulting in some of the greatest jazz recordings of all time (including Milestones and Kind of Blue). Davis returned the favor in March of 1958, appearing as a sideman on Adderley's all-star quintet date for Blue Note, and the resulting session is indeed Somethin' Else. Both horn players are at their peak of lyrical invention, crafting gorgeous, flowing blues lines on the title tune and "One for Daddy-O," as the rhythm team (Hank Jones, Sam Jones, Art Blakey) creates a taut, focused groove (pianist Hank Jones' sly, intuitive orchestrations are studies of harmonic understatement). Adderley's lush, romantic improvisation on "Dancing in the Dark" is worthy of Charlie Parker or Johnny Hodges, while the band refurbishes "Autumn Leaves" and "Love for Sale" into cliché-free swingers. And "Alison's Uncle" puts a boppish coda on Somethin' Else, one of the most gloriously laid-back blowing sessions of the hard bop era.
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Jazz - Released January 1, 1987 | Riverside

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
This two-LP set combines two fine sessions from 1961. The great altoist is heard with his quintet in 1961 (featuring cornetist Nat Adderley, Victor Feldman on vibes and piano and guest pianist Wynton Kelly) and in a quartet date with pianist Bill Evans. The former has some nice music but it is the latter session (which is highlighted by "Waltz for Debby," "Who Cares," "Nancy (With the Laughing Face)" and two versions of "Know What I Mean?" that is the main reason to acquire this excellent two-fer. ~ Scott Yanow
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Jazz - Released January 1, 2012 | Blue Note Records

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Jazz - Released January 1, 1995 | Blue Note Records

Distinctions The Qobuz Standard
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Jazz - Released January 1, 1999 | Capitol Records

Distinctions The Qobuz Standard
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Jazz - Released January 1, 2002 | Blue Note Records

Distinctions The Qobuz Standard
Ballads is a lovely collection of Cannonball Adderley's work on Blue Note from the late '50s to the mid-'60s. Since the nine selections have been taken from nine different albums, the personnel varies widely. The overall mood and approach, however, remain uniform. On "Now I Have Everything" flutist Charles Lloyd, pianist Joe Zawinul, and cornet player Nat Adderley join in for a short, impressionistic lullaby; on "Easy Living" pianist Barry Harris, bassist Sam Jones, and drummer Louis Hayes lend their talents to a soulful take on a favorite standard. Adderley's alto paints in broad, expressionistic colors, wringing just a little more feeling from each note of "I Worship You" and "I Can't Get Started." The mood of pieces like "Dancing in the Dark" reminds one of a rainy night in a film noir classic, with the lights reflecting against the wet city streets at three a.m. The last cut, the 15-minute "The Song My Lady Sings," caps off 55 minutes of quiet, reflective jazz. This low-key exit quietly ebbs and flows as the band fills it with atmosphere to spare. For the unfamiliar, Ballads will serve as relaxed introduction into Adderley's stunning work; for all others, Ballads will serve as the perfect disc for late-night listening. ~ Ronnie D. Lankford, Jr.
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Jazz - Released January 1, 2000 | Blue Note Records

Distinctions The Qobuz Standard
Recorded in early 1960, Them Dirty Blues contains two classic jazz compositions: Nat Adderley's "Work Song" and Bobby Timmons' "Dat Dere," the sequel to "This Here." This was alto saxophonist Cannonball Adderley's second quintet with brother Nat Adderley (cornet), and features Bobby Timmons on piano (who plays on four tracks and was replaced by Barry Harris on the remaining five), Sam Jones on bass, and Louis Hayes on drums. Them Dirty Blues was originally released on Riverside until Adderley made the switch to Capitol where he brought several master tapes with him, including these sessions. ~ Al Campbell
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Jazz - Released May 20, 2003 | Blue Note Records

Distinctions The Qobuz Standard
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Jazz - Released January 1, 1971 | Stateside

Distinctions The Qobuz Standard
Still immersed in the burgeoning electronic jazz-rock explosion of the times, Cannonball Adderley goes further toward a rapprochement with rock and soul audiences than ever before on this fascinating, overlooked double album. For starters, he recorded it live at West Hollywood's Troubadour club, then known as a showcase for folk and rock acts. He also imported additional players into his quintet, expanding into exotic percussion effects with Airto Moreira (whom Miles Davis had previously featured), hard rock guitar with sessionman Mike Deasy, fiery tenor sax from the young Ernie Watts, and occasional seasoning from conguero Buck Clarke and clarinetist Alvin Batiste. "Now I don't give a damn whether you can count or not, we still are the Cannonball Adderley Quintet!," quoted the leader, who is in loose, loquacious form throughout the set (the jazz world badly misses his witty verbal intros). With Joe Zawinul flying off to Weather Report, his replacement is an even more electronically minded pianist, George Duke, who levitates into the outer limits with his Echoplex and ring modulator and proves to be a solid comper. But Zawinul is not forgotten, for the band pursues a long, probing, atmospheric excursion on his tune, "Dr. Honouris Causa." Adderley generously gives Deasy two contrasting feature numbers -- "Little Benny Hen," a raucous, amateurishly sung blues/rock piece and "Zanek," a great countrified tune with an avant-garde freakout at the climax -- and all of the other guests save Clarke get single solo features. Brother Nat Adderley gamely visits the outside on cornet, Cannonball doubles with increasing adventurousness on soprano and alto as bassist Walter Booker and drummer Roy McCurdy deftly handle all of the stylisyic changes. Cannonball adeptly keeps pace with Miles Davis, his former boss -- the driving "The Chocolate Nuisance" could easily be a first cousin of "Pharoah's Dance" on Bitches Brew -- while not abandoning his funky soul-jazz base nor the special audience-friendly ambience of his concerts. ~ Richard S. Ginell
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Jazz - Released January 1, 2002 | Blue Note Records

Distinctions The Qobuz Standard
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Jazz - Released January 1, 1999 | Concord Records, Inc.

Distinctions The Qobuz Standard
Adderley's next-to-last recording (cut just four months before he died of a stroke at age 46) was ironically a retrospective of his career. While his then-current group (with cornetist Nat Adderley, keyboardist Mike Wolff, bassist Walter Booker, and drummer Roy McCurdy) was featured on half of this two-LP set (highlighted by "Stars Fell on Alabama," "74 Miles Away," and a medley of "Walk Tall" and "Mercy, Mercy, Mercy"), on the remainder of this two-fer the Adderleys welcome back several alumni (keyboardist George Duke, bassist Sam Jones, and drummer Louis Hayes) for new versions of "High Fly," "Work Song," "Sack O'Woe," "Jive Samba," "This Here," and "The Sidewalks of New York." A recommended set with plenty of excellent music, it serves as a fine overview of Cannonball Adderley's career. ~ Scott Yanow
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Jazz - Released January 1, 1958 | Verve

Distinctions The Qobuz Standard
Cannonball Adderley's Mercury albums (most of which, like this LP, are long out-of-print) find the youthful altoist trying to unsuccessfully keep his quintet with brother Nat together. Despite the powerful bop-oriented music they consistently recorded, the band would break up in a year, only to regroup with great success in 1959. This set is highlighted by romps on "A Foggy Day," "I'll Remember April" and "The Way You Look Tonight" with fine solos contributed by the two Adderleys and pianist Junior Mance. ~ Scott Yanow
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Jazz - Released January 1, 1999 | Blue Note Records

Distinctions The Qobuz Standard
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Jazz - Released January 1, 1989 | Universal Music Division Decca Records France

Distinctions The Qobuz Standard
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Jazz - Released January 1, 1955 | Verve

Distinctions The Qobuz Standard
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Jazz - Released January 1, 2005 | Capitol Records

Distinctions The Qobuz Standard
Cannonball Adderley's mega-successful album Mercy, Mercy, Mercy!, released in August of 1966, was supposedly recorded "live" at a venue in Chicago called The Club, but it was actually recorded in the studio of Capitol Records with a specially assembled audience. For those who wonder what they really sounded like at that venue, Money in the Pocket contains unreleased live recordings of the Cannonball Adderley Quintet at The Club in Chicago on March 19 and 20, 1966. The only pieces officially released were edited 45-rpm single versions of "The Sticks," "Money in the Pocket," "Hear Me Talkin' to Ya," and "Cannon's Theme." This 2005 reissue restores those tracks to their original full lengths while adding "Introduction to a Samba," "Requiem for a Jazz Musician," "Fiddler on the Roof," and a nice version of "Stardust." Cannonball employed the same excellent band as heard on the Mercy, Mercy, Mercy! album -- cornetist Nat Adderley, keyboardist Joe Zawinul, drummer Roy McCurdy -- with the exception of bassist Herbie Lewis, who replaced Victor Gaskin. Any Cannonball Adderley fan will want to own this. ~ Al Campbell
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Jazz - Released January 1, 1997 | Blue Note Records

Distinctions The Qobuz Standard
Cannonball Adderley only recorded once as a leader for Blue Note, but this sampler manages to cover most of his prime years. There are cuts taken from the Riverside catalog ("Au Privave" with Wes Montgomery, "Sack O' Woe" and "Gemini"), plus Adderley's big Capitol hit "Mercy, Mercy, Mercy," "One for Daddy-O" (taken from the Blue Note set with Miles Davis as a sideman), and a previously unreleased "Bohemia After Dark" from 1966. The latter (a hot uptempo version taken from a Japanese concert) will drive completists mad, since they will undoubtedly already own all of the rest of the material. For beginners, this is an excellent overview of the exuberant altoist's bop-oriented years, before he gradually switched to funkier sounds. ~ Scott Yanow
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Jazz - Released January 1, 1994 | Blue Note Records

Distinctions The Qobuz Standard
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Jazz - Released January 1, 2006 | Blue Note Records

Distinctions The Qobuz Standard
It would have been hard for Cannonball Adderley to follow up the stunning Mercy, Mercy, Mercy! with anything quite as strong or inspired. This set follows the exact same M.O. Producer David Axelrod invited a group of friends into the Capitol studios, supplied them with free booze, warmed them up, and brought out the band (the same lineup: bassist Victor Gaskin, drummer Ron McCurdy, pianist Joe Zawinul, cornetist Nat Adderley, and Cannonball on alto) to tear into a group of covers and originals. The better moments here include the Latin-tinged "I'm on My Way" (written by Nat and featuring a beautifully lyrical solo by him) and a cool little read of the Pops Staples tune the album is titled for (featuring a killer little Rhodes piano part by Zawinul with a mournful dual head by Cannonball and Nat). The other hard groover is Nat's "The Other Side," which takes the outside track in Cannonball's solo. Zawinul's tunes are starkly more original in contrast -- particularly "One for Newk" -- but sound less inspired somehow. The album doesn't quite live up to its predecessor, but it is a burner and Adderley fans are likely to want to own it. ~ Thom Jurek