CANNONBALL ADDERLEY AND HIS ORCHESTRA — African Waltz (1961-2000) 20 Bit Remastered Series | Two Version | APE + FLAC (image+.tracks+.cue), lossless

The music on African Waltz is better than it should be. Cannonball Adderley had a fluke hit with "African Waltz," so a full album was recorded with the hopes of coming up with additional hits. These 11 selections (which include "African Waltz") feature altoist Adderley backed by an 18-piece big band with arrangements provided by Ernie Wilkins and Bob Brookmeyer. The tunes clock in between two and five minutes and leave little room for much improvising by anyone other than Cannonball, his brother Nat on cornet, and pianist Wynton Kelly. There is some strong material on the set (including "West Coast Blues," "Stockholm Sweetnin'" and a remake of "This Here"), but the results are not too substantial and this was not that big a seller but it is still a reasonably enjoyable effort. Scott Yanow
Tracklist :
1 Something Different 2:59
Written-By – Chuck Mangione
2 West Coast Blues 4:02
Soloist – Bob Brookmeyer
Written-By – Wes Montgomery
3 Smoke Gets In Your Eyes 3:00
Written-By – Kern, Harbach
4 The Uptown 2:12
Written-By – Junior Mance
5 Stockholm Sweetin' 3:37
Written-By – Quincy Jones
6 African Waltz 2:08
Written-By – McDermott, Mitchell, Sachs
7 Blue Brass Band 4:46
Soloist – Oliver Nelson
Written-By – Nat Adderley
8 Kelly Blue 3:46
Written-By – Wynton Kelly
9 Letter From Home 1:55
Soloist [Piccolo Flute] – Jerome Richardson
Written-By – Mance
10 I'll Close My Eyes 3:39
Written-By – Reid, Kaye
11 This Here 3:00
Written-By – Bobby Timmons
Credits :
Alto Saxophone, Flute – George Dorsey
Alto Saxophone, Soloist – Cannonball Adderley
Arranged By – Bob Brookmeyer (tracks: 5, 10), Ernie Wilkins (tracks: 1 to 4, 6 to 9, 11)
Baritone Saxophone – Arthur Clarke
Bass – Sam Jones
Conductor – Ernie Wilkins
Congas – Ray Barretto (tracks: 1 to 7, 9 to 11)
Drums – Charlie Persip, Louis Hayes
Drums [African] – Michael Olatunji (tracks: 6, 8)
Piano – Wynton Kelly
Tenor Saxophone, Flute – Oliver Nelson
Tenor Saxophone, Flute, Piccolo Flute – Jerome Richardson
Trombone – Arnett Sparrow (tracks: 6, 8), Bob Brookmeyer (tracks: 1 to 7, 9 to 11), George Matthews  (tracks: 6, 8), Jimmy Cleveland, Melba Liston (tracks: 1 to 7, 9 to 11), Paul Faulise
Trumpet – Clark Terry, Ernie Royal, Joe Newman (tracks: 6, 8), Nick Travis (tracks: 1 to 7, 9 to 11)
Trumpet, Soloist – Nat Adderley
Tuba – Don Butterfield

MILES DAVIS — Circle in the Round (1979-1991) 2CD | RM | Columbia Jazz Contemporary Masters Series | FLAC (tracks+.cue), lossless

Although this two-disc set is a compilation -- primarily consisting of extended outtakes -- Circle in the Round features the true colors of jazz chameleon Miles Davis (trumpet) during a 15-year (1955-1970) span from eight different recording sessions. Whether it was serendipity or astute coordination that gathered these sides together, Davis enthusiasts will undoubtedly find plenty to enjoy from his prolific and seemingly perpetual metamorphosis. The sessions are presented chronologically for the most part, beginning with a composite of "Two Bass Hit." This version is from an October 1955 Kind of Blue session featuring John Coltrane (tenor sax) and a band Davis refers to as "the trio": Red Garland (piano), Paul Chambers (bass), and Philly Joe Jones (drums). From the May 1958 recording date comes another major session featuring an all-star lineup: Julian "Cannonball" Adderley (alto sax), Coltrane (tenor sax), Bill Evans (piano), Paul Chambers (bass), and Jimmy Cobb (drums). Their single take on Cole Porter's "Love for Sale" is an amazing performance that allows for some intensely cool solos from Miles and Adderley in particular. Listen as well for some tasty piano fills from Evans, as this is the sort of interaction that he'd become synonymous with. Although "Blues No. 2" is taken from the final session at which Davis and Coltrane would record together, studio documentation reveals that Coltrane did not perform on this piece. The title track appears in an unedited form on the Miles Davis Quintet, 1965-68: The Complete Columbia Studio box set. It is a heavily Eastern-influenced freebop work featuring Davis -- who is also credited with performing on chimes during this session -- with his famous late-'60s quintet, featuring Wayne Shorter (tenor sax), Herbie Hancock (celeste), Ron Carter (bass), and Tony Williams (drums), as well as Joe Beck (guitar). Two early-1968 sessions featuring George Benson (guitar) with the previously mentioned quintet make up the bulk of the second disc. These tracks are fusion incarnate. The delicate interplay between Benson and Hancock is inspiring on both versions of "Side Car" -- although the second reading seems more focused. From a January 1970 Bitches Brew session is a jaw-dropping reading of David Crosby's "Guinnevere," a complete version of which is available on the highly recommended Complete Bitches Brew Sessions (August 1969-February 1970) box set. Although seemingly hodgepodge in arrangement, Circle in the Round is a brilliant examination of the depth of scope and range possessed by Miles Davis. Lindsay Planer   
Tracklist :
1-1 Two Bass Hit 3:42
Double Bass [Acoustic Bass] – Paul Chambers 
Drums – Philly Joe Jones
Piano [Acoustic] – Red Garland
Tenor Saxophone – John Coltrane
Trumpet – Miles Davis
Written-By – Dizzy Gillespie, John Lewis 
1-2 Love For Sale 11:49
Alto Saxophone – Cannonball Adderley
Double Bass [Acoustic Bass] – Paul Chambers 
Drums – Jimmy Cobb
Piano [Acoustic] – Bill Evans
Tenor Saxophone – John Coltrane
Trumpet – Miles Davis
Written-By – Cole Porter
1-3 Blues No. 2 6:48
Double Bass [Acoustic Bass] – Paul Chambers 
Drums – Philly Joe Jones
Piano [Acoustic] – Wynton Kelly
Tenor Saxophone – Hank Mobley
Trumpet – Miles Davis
Written-By – Miles Davis
1-4 Circle In The Round 26:15
Celesta – Herbie Hancock
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams*
Electric Guitar – Joe Beck
Tenor Saxophone – Wayne Shorter
Trumpet, Chimes, Bells – Miles Davis
Written-By – Miles Davis
2-1 Teo's Bag 5:55
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-2 Side Car I 4:58
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-3 Side Car II 3:34
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams
Electric Guitar – George Benson
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-4 Splash 8:30
Double Bass [Acoustic Bass] – Dave Holland
Drums – Tony Williams
Electric Piano – Chick Corea, Herbie Hancock
Piano [Acoustic] – Joe Zawinul
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Miles Davis
2-5 Sanctuary 8:48
Double Bass [Acoustic Bass] – Ron Carter
Drums – Tony Williams*
Electric Guitar – George Benson
Piano [Acoustic] – Herbie Hancock
Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – Wayne Shorter
2-6 Guinnevere 18:06
Bass Clarinet – Bennie Maupin
Celesta, Piano, Electric Piano – Herbie Hancock
Double Bass [Acoustic Bass] – Dave Holland
Drums – Billy Cobham, Jack DeJohnette
Electric Bass – Harvey Brooks
Keyboards – Chick Corea, Joe Zawinul
Percussion – Airto Moreira
Sitar – Khalil Balakrishna
Soprano Saxophone, Tenor Saxophone – Wayne Shorter
Trumpet – Miles Davis
Written-By – David Crosby

MILES DAVIS — Porgy And Bess (1959) Six Version | RM | SACD | FLAC (image+.tracks+.cue), lossless

Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin's Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans' intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both. The four dates needed to complete work on Porgy and Bess include contributions from several members of his most recent musical aggregate: Julian "Cannonball" Adderley (alto sax), Paul Chambers (bass), and Jimmy Cobb (drums). Although the focus and emphasis is squarely on Davis throughout, the contributions of the quartet on "Prayer (Oh Doctor Jesus)," "I Loves You, Porgy," and "There's a Boat That's Leaving Soon for New York" are immeasurable. They provide a delicate balance in style and, under the direction of Evans, incorporate much of the same energy and intonation here as they did to their post-bop recordings. There is infinitely more happening on Porgy and Bess, however, with much of the evidence existing in the subtle significance of the hauntingly lyrical passages from Danny Banks' (alto flute) solos, which commence on "Fishermen, Strawberry and Devil Crab." Or the emotive bass and tuba duet that runs throughout "Buzzard Song." The impeccable digital remastering and subsequent reissue -- which likewise applies to the Miles Davis & Gil Evans: The Complete Columbia Studio Recordings box set -- only magnifies the refulgence of Porgy and Bess. Likewise, two previously unissued performances have been appended to the original baker's dozen. No observation or collection of American jazz can be deemed complete without this recording. Lindsay Planer

(1983, CBS/Sony – 35DP 61) +
(1987, RM | CBS Jazz Masterpieces Series) +
(1997, RM | Columbia Jazz Series) +
(2000, RM | Master Sound Series) +
(2006, RM | The Original Jacket Collection Series) +
(2019, SHM-CD | Ultradisc UHR, Original Master Recording Series) 

Tracklist :
1    The Buzzard Song 4:07
2    Bess, You Is My Woman Now 5:12

3    Gone    3:38
4    Gone, Gone, Gone 2:05
5    Summertime 3:20
6    Bess, Oh Where's My Bess    4:31
7    Prayer (Oh Doctor Jesus)    4:40
8    Fishermen, Strawberry And Devil Crab 4:06
9    My Man's Gone Now    6:13
10    It Ain't Necessarily So 4:23
11    Here Come De Honey Man    1:18
12    I Loves You, Porgy 3:38
13    There's A Boat That's Leaving Soon For New York 3:26
Credits :
Alto Saxophone – Cannonball Adderley
Arranged By, Conductor – Gil Evans
Bass – Paul Chambers
Drums – Philly Joe Jones (tracks: 3, 4, 9, 15), Jimmy Cobb (tracks: 1, 2, 5 to 8, 10 to 14)
Flugelhorn – Miles Davis
Flute [Alto Flute], Bass Clarinet – Danny Bank
Flute, Flute [Alto Flute], Clarinet – Jerome Richardson (tracks: 1, 5 to 7, 12 to 14), Phil Bodner (tracks: 2 to 4, 8 to 11, 15), Romeo Penque
French Horn – Gunther Schuller, Julius Watkins, Willie Ruff
Trombone – Frank Rehak, Jimmy Cleveland, Joe Bennett, Dick Hixon
Trumpet – Bernie Glow, Ernie Royal, Johnny Coles, Louis Mucci
Trumpet [Lead] – Miles Davis (tracks: 2, 8, 10, 11)
Tuba – Bill Barber

SAM JONES PLUS 10 — The Chant (1961-1994) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Bassist Sam Jones's Riverside recordings have long been underrated. This CD reissue features Jones on bass and cello for four songs apiece with a particularly strong supporting cast including cornetist Nat Adderley, trumpeter Blue Mitchell, trombonist Melba Liston, altoist Cannonball Adderley (who only takes one solo) and Jimmy Heath on tenor; Victor Feldman and Heath provided the colorful arrangments. Highlights include "Four," "Sonny Boy," Jones's "In Walked Ray" and "Over the Rainbow" but all eight selections in this straightahead set are rewarding. Scott Yanow
Tracklist :
1    The Chant    3:24
 Victor Feldman
2    Four    4:23
 Miles Davis / Jon Hendricks
3    Blues On Down    5:45
 Benny Golson
4    Sonny Boy    4:54
 Lew Brown / Buddy DeSylva / Ray Henderson / Al Jolson
5    In Walked Ray    4:04
Written-By – Sam Jones
6    Bluebird    4:10
 Charlie Parker
7    Over The Rainbow    6:37
 Harold Arlen / E.Y. "Yip" Harburg
8    Off-Color    4:26
Written-By – Rudy Stevenson
Credits :
Alto Saxophone – Julian "Cannonball" Adderley
Arranged By – Jimmy Heath, Victor Feldman
Baritone Saxophone – Tate Houston
Bass – Keter Betts (tracks: 4 to 7), Sam Jones (tracks: 1 to 3, 8)
Cello – Sam Jones (tracks: 4 to 7)
Cornet – Nat Adderley
Drums – Louis Hayes
Guitar – Les Spann (tracks: 1 to 3, 8)
Piano – Victor Feldman (tracks: 1 to 3, 5, 8), Wynton Kelly (tracks: 4, 6, 7)
Tenor Saxophone – Jimmy Heath
Trombone – Melba Liston
Trumpet – Blue Mitchell
Vibraphone – Victor Feldman (tracks: 4 to 7)

JULIAN "CANNONBALL" ADDERLEY — Cannonball Enroute (1958-2013) RM | MONO | Serie Jazz The Best お宝コレクション – 70 | FLAC (tracks+.cue), lossless

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
Tracklist :
1. Spontaneous Combustion (J.Adderley) - 10:07
2. Still Talkin' to Ya (J.Adderley) - 8:54
3. A Little Taste (J.Adderley) - 5:08
4. Caribbean Cutie (J.Adderley) - 7:02
5. Flamingo (Anderson-Grouya) - 7:00
6. With Apologies to Oscar (take 2) (J.Adderley-N.Adderley) - 5:45
7. Late Entry (take 3) (J.Adderley-N.Adderley) - 3:20
8. Bohemia After Dark (take 2) (Pettiford) - 6:08
9. With Apologies to Oscar (take 4) (J.Adderley-N.Adderley) - 5:47
10. A Little Taste (take 3) (J.Adderley) - 5:19
11. Bohemia After Dark (take 3) (Pettiford) - 5:49
Credits :
Julian "Cannonball" Adderley - Alto Saxophone
Nat Adderley - Cornet
Hank Jones (#1-5,10), Horace Silver (#6-9,11) - Piano
Paul Chambers - Bass
Kenny Clarke - Drums
Donald Byrd - Trumpet (#6-11)
Jerome Richardson (#6-11) - Tenor Saxophone, Flute

RAY BROWN — With The All-Star Big Band ft. Cannonball Adderley + Ray Brown & Milt Jackson (2012) RM | SHM-CD | Two Original Albums On One CD | FLAC (image+.cue), lossless

Tracklist & Credits : 

1-9 With The All-Star Big Band
10-17 Ray Brown / Milt Jackson

RAY BROWN | MILT JACKSON — Much In Common + All-Star Big Band (1996) 2xCD | Serie Verve Take 2 | APE (image+.cue), lossless

Tracklist & Credits :

GIL EVANS — The Complete Pacific Jazz Sessions (2006) Blue Note Connoisseur Series | APE (tracks+.cue), lossless

Gil Evans released two records on World Pacific in 1958 and 1959. They were among his earliest dates as a leader. Gil Evans & Ten was issued by Prestige in 1957, but these dates stand out more. New Bottle, Old Wine was the first of the pair and the band included four trumpets, a trio of trombones, French horn (played by Julius Watkins), a pair of tubas, Cannonball Adderley as the lone saxophonist, and a rhythm section that included either Philly Joe Jones or Art Blakey on drums, Paul Chambers on bass, and Chuck Wayne on guitar. The reading of "King Porter Stomp" is the stunner here, with Adderley's solo being a prized moment. There isn't a weak cut in the whole mess, though. Other standouts include Fats Waller's "Willow Tree," "Lester Leaps In," with great solos by Wayne and Adderley, the burning finale of Dizzy Gillespie's "Manteca," and Charlie Parker's "Bird Feathers" closing it out.

The second of these albums, Great Jazz Standards, featured a similar band with some notable differences. For one, the inclusion of soprano saxophonist Steve Lacy as a soloist and rhythm sections that included either Dennis Charles or Elvin Jones on drums, Curtis Fuller on trombone, and Budd Johnson on tenor for about half the set. The finer moments here include "Ballad of the Sad Young Men" (a newish tune at the time with a fine piano solo by Evans) and John Lewis' "Django," with a truly brilliant and understated solo by Lacy, who also does a commendable job on "Straight No Chaser." Johnson wails on Gil Evans' "La Nevada (Theme)." Evans' arrangement of Clifford Brown's "Joy Spring" is also a killer, with his and guitarist Ray Crawford's solos. The Complete Pacific Jazz Sessions is a fine collection issued by Blue Note, which, as part of the Connoisseur Series, is limited and will be out of print again soon. Don't wait.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-    Tracklist & Credits :

GIL EVANS ft. CANNONBALL ADDERLEY — New Bottle, Old Wine (1958-1988) FLAC (tracks+.cue), lossless

Gil Evans' second album as a leader (a World Pacific set that has been reissued by Blue Note) features his reworking of eight jazz classics including "St. Louis Blues," "Lester Leaps In" and "Struttin' with Some Barbecue." Evans' charts utilize three trumpets, three trombones, a french horn, a prominent tuba, one reed player, altoist Cannonball Adderley and a four-piece rhythm section. Most memorable is a classic rendition of "King Porter Stomp" featuring the exuberant altoist Cannonball Adderley, who is the main soloist on most of the selections. Other key voices include Evans' piano, guitarist Chuck Wayne and trumpeter Johnny Coles. This is near-classic music that showed that Gil Evans did not need Miles Davis as a soloist to inspire him to greatness. Scott Yanow    Tracklist & Credits :

CANNOBALL ADDERLEY WITH MILT JACKSON — Things Are Getting Better (1958-2013) RM | MONO | Serie Original Jazz Classics Remasters | FLAC (tracks+.cue), lossless

This title provides ample evidence why alto Cannonball Adderley is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson on vibes to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly on piano, Percy Heath on bass, and the one and only Art Blakey on drums. The moody "Blues Oriental" opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic "Things Are Getting Better" is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry "Serves Me Right," which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's "Groovin' High" contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. "Sidewalks of New York" bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's "Sounds for Sid" demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's "Just One of Those Things." While Wynton Kelly has been uniformly solid, his interjections stand out here as he bridges and undergirds the two as they banter with flair and aplomb. This set can be recommended without hesitation to all manner of jazz enthusiast, as it quite literally offers something for every taste. [Some reissues include two bonus tracks supplementing the original seven-song running order, alternate takes of "Serves Me Right" and "Sidewalks of New York."] Lindsay Planer 
Tracklist :
1 Blues Oriental 5:01
Written-By – Milt Jackson
2 A Few Words 0:44 *
3 Things Are Getting Better 7:14
Written-By – Adderley, Langdon
4 Serves Me Right (Take 5) 4:50
Written-By – Buddy Johnson
5 Groovin' High 5:22
Written-By – Dizzy Gillespie
6 The Sidewalks Of New York (Take 5) 7:00
Arranged By – J. Adderley
Written-By – Lawlor, Blake
7 Sounds For Sid 6:27
Written-By – Julian Adderley
8 Just One Of Those Things 6:48
Written-By – Cole Porter
9 Serves Me Right (Take 4) 4:38 *
Written-By – Buddy Johnson
10 The Sidewalks Of New York (Take 4) 5:15 *
* – BONUS TRACKS –
Not on original lp (mono)
Credits :
Alto Saxophone – Cannonball Adderley
Bass – Percy Heath
Drums – Art Blakey
Piano – Wynton Kelly
Vibraphone – Milt Jackson

THE JIMMY HEATH ORCHESTRA - Really Big! (1960-1992) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Jimmy Heath's first chance to lead a fairly large group, an all-star ten-piece, found him well featured both on tenor and as an arranger/composer. With such colorful players as cornetist Nat Adderley, flugelhornist Clark Terry, altoist Cannonball Adderley, and either Cedar Walton or Tommy Flanagan on piano, Heath introduces a few originals (including "Big 'P'" and "A Picture of Heath") and uplifts "Green Dolphin Street," "Dat Dere," and "My Ideal," among others. A well-conceived set. Scott Yanow
Tracklist :
1     Big "P" 3'53
Jimmy Heath
2     Old Fashioned Fun 4'34
Jimmy Heath
3     Mona's Mood 4'53
Jimmy Heath
4     Dat Dere 4'24
Oscar Brown, Jr. / Bobby Timmons
5     Nails 4'47
Jimmy Heath
6     On Green Dolphin Street 4'42
Bronislaw Kaper / Ned Washington
7     My Ideal 4'10
Newell Chase / Leo Robin / Richard A. Whiting
8     Picture of Heath 4'30
Jimmy Heath
Credits :
Alto Saxophone – Julian "Cannonball" Adderley
Baritone Saxophone – Pat Patrick
Bass – Percy Heath
Cornet – Nat Adderley
Drums – Albert Heath
French Horn – Dick Berg
Piano – Cedar Walton (3 to 5, 7, 8), Tommy Flanagan (1, 2, 6)
Producer – Orrin Keepnews
Remastered By [Digital Remastering, 1992] – Phil De Lancie
Tenor Saxophone – Jimmy Heath
Trombone – Tom McIntosh
Trumpet – Clark Terry

CANNONBAL ADDERLEY — Somethin' Else (1958-2013) RM | SHM-CD | BLUE NOTE MASTERWOKS Series | FLAC (tracks+.cue), lossless

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. Rovi Staff
Tracklist :
1 Autumn Leaves 10:58
Written-By – Prevert, Kosma
2 Love For Sale 7:03
Written-By – Cole Porter
3 Somethin' Else 8:12
Written-By – Miles Davis
4 One For The Daddy-O 8:21
Written-By – Nat Adderley
5 Dancing In The Dark 4:04
Written-By – Schwartz - Dietz
- Bonus Tracks -
6 Bangoon 5:05
Written-By – Hank Jones
7 Autumn Leaves (Alt. Take) 9:33
Composed By – Jacques Prévert, Johnny Mercer, Joseph Kosma
Credits:
Alto Saxophone – Cannonball Adderley
Bass – Sam Jones
Drums – Art Blakey
Piano – Hank Jones
Trumpet – Miles Davis

THE CANNONBALL ADDERLEY QUINTET - Them Dirty Blues (1960-2000) RM / FLAC (tracks+.cue), lossless

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. by Al Campbell
Tracklist:
1 Work Song 5:05
Composed By – Nat Adderley
2 Jeannine 7:15
Composed By – Duke Pearson
3 Easy Living 4:20
Composed By – L. Robin, R. Rainger
4 Them Dirty Blues 7:10
Composed By – Julian Adderley
5 Dat Dere 5:28
Composed By – Bobby Timmons
6 Del Sasser 4:40
Composed By – Sam Jones
7 Soon 5:34
Composed By – G. Gershwin, I. Gershwin
8 Work Song (Alternate Version) 5:49
Composed By – Nat Adderley
9 Dat Dere (Alternate Take) 5:28
Composed By – Bobby Timmons
Credits:
Alto Saxophone – Cannonball Adderley
Bass – Sam Jones
Cornet – Nat Adderley
Drums – Louis Hayes
Piano – Barry Harris (tracks: 1 to 4), Bobby Timmons (tracks: 5 to 9)

THE CANNONBALL ADDERLEY QUINTET - Mercy, Mercy, Mercy ! : Live at "The Club" (1966-2014) FLAC (tracks+.cue), lossless

Cannonball Adderley's most popular album, Mercy, Mercy, Mercy wasn't actually recorded "Live at 'The Club'," as its subtitle says. The hoax was meant to publicize a friend's nightclub venture in Chicago, but Adderley actually recorded the album in Los Angeles, where producer David Axelrod set up a club in the Capitol studios and furnished free drinks to an invitation-only audience. Naturally, the crowd is in an extremely good mood, and Adderley's quintet, feeding off the energy in the room, gives them something to shout about. By this point, Adderley had perfected a unique blend of earthy soul-jazz and modern, subtly advanced post-bop; very rarely did some of these harmonies and rhythms pop up in jazz so saturated with blues and gospel feeling. Those latter influences are the main inspiration for acoustic/electric pianist Joe Zawinul's legendary title cut, a genuine Top 40 pop hit that bears a passing resemblance to the Southern soul instrumentals of the mid-'60s, but works a looser, more laid-back groove (without much improvisation). The deep, moaning quality and spacy texture of "Mercy, Mercy, Mercy" stand in contrast to the remainder of the record, though; Nat Adderley contributes two upbeat and challenging originals in "Fun" and "Games," while Zawinul's second piece, "Hippodelphia," is on the same level of sophistication. The leader's two selections -- the gospel-inflected "Sticks" and the hard-swinging, bluesy bop of "Sack O' Woe" (the latter of which became a staple of his repertoire) -- are terrific as well, letting the group really dig into its roots. Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well -- or with such tremendous musical rewards -- as Mercy, Mercy, Mercy. by Steve Huey  
Tracklist:
1 Fun 8:26
Nat Adderley / Nat Adderley, Jr.  
2 Games 7:19
Nat Adderley
3 Mercy, Mercy, Mercy 5:10
Joe Zawinul
4 Sticks 3:54
Cannonball Adderley
5 Hippodelphia 5:49
Joe Zawinul
6 Sack O' Woe 10:29
Cannonball Adderley
Credits:
Alto Saxophone – Cannonball Adderley
Bass – Vic Gatsky
Cornet – Nat Adderley
Drums – Roy McCurdy
Electric Piano – Joe Zawinul

NANCY WILSON / CANNONBALL ADDERLEY - Nancy Wilson & Cannonball Adderley (1961-1993) FLAC (tracks), lossless

An excellent collaboration of Nancy Wilson's voice with Cannonball Adderley's alto sax from the early '60s. While this 1961 recording was the first time Wilson was with Adderley in the studio, it was not the first time they had worked together. After singing with Rusty Bryant's band, Wilson had worked with Adderley in Columbus, Ohio. (It was there that Adderley encouraged her to go to N.Y.C. to do some recording, eventually leading to this session.) Not entirely a vocal album, five of the 12 cuts are instrumentals. A highlight is the gentle cornet playing of Nat Adderley behind Wilson, especially on "Save Your Love for Me" and "The Old Country." Cannonball Adderley's swinging, boppish sax is heard to excellent effect throughout. Joe Zawinul's work behind Wilson on "The Masquerade Is Over" demonstrates that he is a talented, sensitive accompanist. On the instrumental side, "Teaneck" and "One Man's Dream" are especially good group blowing sessions. On the other end of the spectrum, Adderley's alto offers a lovely slow tempo treatment of the Vernon Duke-Ira Gershwin masterpiece "I Can't Get Started." To keep the listeners on their musical toes, the first couple of bars of "Save Your Love for Me" are quotes from "So What" from the Miles Davis Sextet's seminal Kind of Blue session. Given the play list and the outstanding artists performing it, why any serious jazz collection would be without this classic album is difficult to comprehend.  by Dave Nathan  
Tracklist
1 Save Your Love for Me 2:38
Buddy Johnson 
2 Never Will I Marry 2:16
Frank Loesser 
3 The Old Country 2:57
Nat Adderley / Nat Adderley, Jr. / Curtis Lewis 
4 Happy Talk 2:21
Oscar Hammerstein II / Richard Rodgers 
5 The Masquerade Is Over 4:15
Herbert Magidson / Allie Wrubel 
6 A Sleepin' Bee 2:32
Harold Arlen / Truman Capote 
7 Little Unhappy Boy 2:14
Curtis Lewis / Curtis Reginald Lewis 
8 Teaneck 4:30
Nat Adderley / Nat Adderley, Jr. 
9 I Can't Get Started 4:55
Vernon Duke / Ira Gershwin  
10 One Man's Dream 5:09
Joe Zawinul 
11 Never Say Yes 3:57
Nat Adderley / Nat Adderley, Jr. 
12 Unit 7 6:04
Sam Jones 
Credits 
Alto Saxophone – Cannonball Adderley
Bass – Sam Jones
Cornet – Nat Adderley
Drums – Louis Hayes
Piano – Joe Zawinul
Vocals – Nancy Wilson (tracks: 1 to 7)