Cannonball Adderley
Somethin' Else

The first thing that catches the eye on the cover is the name of Miles Davis, who is not featured as a leader but as a simple member of the band.

Listening, in fact, reveals that the immense Miles is not only on an equal footing with the "owner" of this record but even often has the honor of the first exposition of the themes. However, one must wonder who the hell this 'Cannonball Adderley' was to afford the luxury of such a "collaborator". And there is no logical answer, except that this privilege seems reserved for those who play a very specific instrument: the alto sax.

At the end of the '40s, we find a still somewhat unripe Miles Davis as the sidekick of Charlie Parker, the greatest alto sax player of all time. Ten years later (1958), we find him now endowed with his unmistakable timbre but still intent on accompanying an alto sax played by a declared disciple of Charlie Parker, in this jazz milestone titled "Somethin' Else".
Julian Adderley got the nickname "Cannonball" it's not clear whether for his legendary appetite (distortion of "cannibal") or for his roundness ("cannonball"). However, I can assure you, from personal experience, that the two things usually go hand in hand. His training was peculiar, passing through the trumpet and military bands, but a casual appearance in Oscar Pettiford's orchestra, due to the absence of a regular, convinced him (and not just him) that the instrument of his life would be the alto sax.

Paolo Conte's ingenious insight about the "fat speech" of the saxophone seems more suited to describe the instruments with a lower register (tenor and baritone sax), but Cannonball seems to transmit his plumpness also to his acute instrument, and from this derives an unmistakably full, creamy, truly "fat" sound in Conte's sense of the word. The alternation of this sound with the now legendary sharpness of Miles Davis's trumpet, even more cutting thanks to the use of the mute, constitutes one of the most fascinating aspects of this record, which features a quintet where even the supporting players are of great quality: Hank Jones on piano, Sam Jones on bass, and even Art Blakey on drums.

The start is spectacular: "Autumn Leaves" is the jazz version of a classic French song ("Les feuilles mortes"). An interpretation so personal and inspired that it forever transforms this tune into a jazz standard, despite its origin being entirely foreign to this genre. An introduction with a seductive and somewhat Latin rhythm, seemingly anticipating Paolo Conte's "green milongas", paves the way for Miles Davis's entrance, who with his sharp sound traces the theme's furrow; then Cannonball deepens it with broad phrasing. Then again, Miles extends the horizon by improvising increasingly elaborate phrases and engaging with the sober and delicate touch of Hank Jones's piano, which also plays an important role in the coda, entrusted to the same "neutral" theme of the introduction.
Anyone with a hat on their head will have already taken it off, but at this point starts another great standard, "Love For Sale", by Cole Porter. A brief and precious piano prelude, and then the path splits between a Latin and tribal rhythm, masterfully marked by Art Blakey and Sam Jones, and again the indelible scratch of Miles Davis's trumpet to draw a trace, elaborately extended by Cannonball's overflowing sax. Then again Miles picks up, and Hank Jones responds with his usual calmness. Repetition of a perfect scheme, but there are no more hats to take off.

"Somethin' Else" is a creation by Miles Davis, who with linear cadences, extremely modern for the time, constructs a perfect base for a true friendly conversation between the two great soloists, who somewhat mimic each other like parrots, somewhat seriously, with solos so clear they seem sculpted in the air. A jewel of musical humor, as well as the usual showcase of skill. More conventional is "One For Daddy-O", of a clear blues stamp, with the sax taking the first word with imaginative and colorful flourishes, but those of the trumpet and piano are certainly no less. "Dancing In The Dark" is a very singable slow piece, and indeed Cannonball's sax, the only soloist here, really manages to sing with a voice of almost human warmth. Miles Davis said that this interpretation reminded him of the divine Sarah Vaughan, and he was not one to make compliments lightly, even if in the notes of this record you find illustrious comparisons a bit for everyone, especially for Hank Jones, matched to Bill Evans and Teddy Wilson.

The CD closes with "Bangoon", absent from the original album. It is a simple and carefree piece by Hank Jones, and it is another proving ground fora perfectly balanced quintet, even though dominated by two soloists in a state of grace.