I’ve always thought of Cannonball as a solid player with a nice sound, but not a genius, although he certainly held his own on Kind Of Blue.
I’m going to have to do a lot of listening to Know What I Mean (which I confess I haven’t heard) before I can consider the idea that “he was every bit the equal of Davis, Coltrane and Evans.”
A great album, and a great piece! When I first heard Kind of Blue, I was much more impressed by Cannonball's playing than Coltrane's. I would come to appreciate Coltrane later, but Cannonball was my way into jazz saxophone.
Because I often interact with people who think they don't like jazz, but do love showtunes and the American songbook, I tend to recommend Adderley's "Fiddler on the Roof" as an entry point to these other records. If they like Fiddler, there's a better chance they'll move to Something Else (pun intended).
That makes sense - love Adderley's recording of parts of the 'Fiddler on the Roof' score - from that relatively brief time when Charles Lloyd was in the group.
Thanks, Robert, for tub-thumping our Tune Tag! It was a reader-pleaser, to be sure! I love your dives into the music I heard coming out of Dad's den, when I was rocking out to the promos he'd bring home for li'l ole me, mid-'60s thru early-'70s! In his jazz collection of 20,000 LPs and 78s, this one HAD to be one of them! It's a great trip down memory lane back to 5231 Beechnut St. in Houston! "Know What I Mean?"
You certainly made your case, Robert. After listening to this album and reading your insights, I’m thinking of Adderley differently. I didn’t know the album until this post. But it’s definitely one of my favorites now. Your phrase-by-phrase analysis takes the word “aficionado” to a whole new level. I really enjoyed this!
Love this writing, Robert: "bespectacled, hunched over the piano, eyes closed, lost in a dense, chordal meditation of such romantic longing as to feel like hearing it was akin to breaking the lock of someone’s diary and reading it cover to cover." Evocative and poetic.
I have always thought it was a Cannonball album mostly as when he performed 'Autumn Leaves' with his own group, he used the arrangement from that album whereas Miles did it very differently. I know there's some speculation that Miles was actually the leader of the date and couldn't be credited as such on the label due to contractual reasons (interestingly enough, when Adderley appears on Louis Smith's debut, he was credited as Buckshot LeFonque).
In 1967, Cannonball had a top 40 hit with a version of Joe Zawinul's "Mercy, Mercy, Mercy" which helped him to escape the shadow of the other "Kind of Blue" players and be known as his own man.
Digging into it now— it’s very nice to hear all the participants in settings and moods they didn’t always take advantage of in their most typical work. Beautiful record— I’d argue that Evans and Adderley were both artists that benefited greatly from sideman and collaborative work, and stretched less than they might have as leaders. Of course, that’s nitpicking— there are riches galore in even their albums that I don’t play very often. But Miles really showed them, and us, what these two masters could do, and this album is a classic because it’s both exploratory and fun. Even Miles didn’t pull off that balance every time out.
I think Adderley stretched later in the sixties, particularly when he began to explore jazz-rock and also when Lateef was in his band. Evans stayed in a lane but what a lane it was!
I agree with you - I think both gained a lot from their time (brief, in both cases) in Davis' group.
Yes, I have some of the later cannonball stuff and I like it a lot. I have an interesting set with David Axelrod productions. Also— I’ve been sitting here listening to this album while working— not really focusing on it— and it’s really overwhelming how much music is going on. I’m in your debt for getting me to pay more attention to this album.
KWIM is fantastic. If I had to pick one Cannonball album though, it would be Cannonball and Coltrane in San Francisco.
That's a good one too - burning version of 'Limehouse Blues' to start it off.
I’ve always thought of Cannonball as a solid player with a nice sound, but not a genius, although he certainly held his own on Kind Of Blue.
I’m going to have to do a lot of listening to Know What I Mean (which I confess I haven’t heard) before I can consider the idea that “he was every bit the equal of Davis, Coltrane and Evans.”
Fair enough - I'm an Adderley fan (as I am of Davis, Coltrane and Evans) so a little bias may be at play.
This article offered a real education thanks Robert. As someone beginning a new journey into jazz, it’s fantastic to listen along with these notes.
Thanks, Kev - thrilled that these writings are helping you get into jazz.
A great album, and a great piece! When I first heard Kind of Blue, I was much more impressed by Cannonball's playing than Coltrane's. I would come to appreciate Coltrane later, but Cannonball was my way into jazz saxophone.
Thanks, William. It was Coltrane first for me but once I began to start buying Cannonball's albums, I became a huge fan.
Because I often interact with people who think they don't like jazz, but do love showtunes and the American songbook, I tend to recommend Adderley's "Fiddler on the Roof" as an entry point to these other records. If they like Fiddler, there's a better chance they'll move to Something Else (pun intended).
That makes sense - love Adderley's recording of parts of the 'Fiddler on the Roof' score - from that relatively brief time when Charles Lloyd was in the group.
Excellent piece!
Thank you, Adam!
Thanks, Robert, for tub-thumping our Tune Tag! It was a reader-pleaser, to be sure! I love your dives into the music I heard coming out of Dad's den, when I was rocking out to the promos he'd bring home for li'l ole me, mid-'60s thru early-'70s! In his jazz collection of 20,000 LPs and 78s, this one HAD to be one of them! It's a great trip down memory lane back to 5231 Beechnut St. in Houston! "Know What I Mean?"
Thanks, Brad. We'll need to do a sequel to the Tune Tag at some point.
Oh, we'll get it done! Part 2's have become a regular happenstance! I'll DM you!
You certainly made your case, Robert. After listening to this album and reading your insights, I’m thinking of Adderley differently. I didn’t know the album until this post. But it’s definitely one of my favorites now. Your phrase-by-phrase analysis takes the word “aficionado” to a whole new level. I really enjoyed this!
Thanks, Andrew - wow! Glad you liked it and it inspired you to check out the album.
Love this writing, Robert: "bespectacled, hunched over the piano, eyes closed, lost in a dense, chordal meditation of such romantic longing as to feel like hearing it was akin to breaking the lock of someone’s diary and reading it cover to cover." Evocative and poetic.
Thank you, Ellen - very kind of you to say and appreciated.
Do you count Somethin' Else as a Cannonball album or a Miles album ?
I have always thought it was a Cannonball album mostly as when he performed 'Autumn Leaves' with his own group, he used the arrangement from that album whereas Miles did it very differently. I know there's some speculation that Miles was actually the leader of the date and couldn't be credited as such on the label due to contractual reasons (interestingly enough, when Adderley appears on Louis Smith's debut, he was credited as Buckshot LeFonque).
In 1967, Cannonball had a top 40 hit with a version of Joe Zawinul's "Mercy, Mercy, Mercy" which helped him to escape the shadow of the other "Kind of Blue" players and be known as his own man.
Absolutely - that started his pioneering work in early jazz-rock fusion.
Great essay as usual, Robert
My favourite Cannon comp: https://www.allmusic.com/album/cannonball-plays-zawinul-mw0000338656
"74 Miles Away That's Out There!"
That's one I wish I had in my collection - '74 Miles Away' should be far better known than it is - way ahead of its time.
Digging into it now— it’s very nice to hear all the participants in settings and moods they didn’t always take advantage of in their most typical work. Beautiful record— I’d argue that Evans and Adderley were both artists that benefited greatly from sideman and collaborative work, and stretched less than they might have as leaders. Of course, that’s nitpicking— there are riches galore in even their albums that I don’t play very often. But Miles really showed them, and us, what these two masters could do, and this album is a classic because it’s both exploratory and fun. Even Miles didn’t pull off that balance every time out.
I think Adderley stretched later in the sixties, particularly when he began to explore jazz-rock and also when Lateef was in his band. Evans stayed in a lane but what a lane it was!
I agree with you - I think both gained a lot from their time (brief, in both cases) in Davis' group.
Yes, I have some of the later cannonball stuff and I like it a lot. I have an interesting set with David Axelrod productions. Also— I’ve been sitting here listening to this album while working— not really focusing on it— and it’s really overwhelming how much music is going on. I’m in your debt for getting me to pay more attention to this album.
You're very welcome - my pleasure!