When alto saxophonist Julian 'Cannonball' Adderley, teacher of a high school band in Florida, visited New York with his brother Nat, his life changed forever. After Julian volunteered to fill in for a deceased horn player, bassist Oscar Pettiford, the session leader, confronted him with I'll Remember April's challenging chord progression, designed headlong to humiliate the young brat. Adderley,
… however, responded with a solo that became the talk of the town; his professional career had started within days. Within a year, he was able to quit his teaching job to lead a full-time band instead. Adderley disbanded the band in 1957 when he joined Miles Davis' legendary ensemble with John Coltrane, which led to some of the greatest jazz records of all time. In return Davis accompanied Adderley during the Blue Note recording of his all-star quintet. The result is indeed Somethin 'Else. Both horns are at the peak of their lyrical improvisation skills when they let go of their beautiful, flowing blues lines (in the title piece and One For Daddy-O). The rhythm section of Hank Jones, Sam Jones and Art Blakey creates a tight, focused groove. Adderley's luscious, romantic improvisation on Dancing In The Dark can easily compete with Charlie Parker or Johnny Hodges. The band transforms Autumn Leaves and Love For Sale into personal, cliché-free swingers. Allison's Uncle expands a bopping end to Somethin 'Else, one of hard bop's best laid-back blowing sessions. The result is indeed Somethin 'Else. Both horns are at the peak of their lyrical improvisation skills when they let go of their beautiful, flowing blues lines (in the title piece and One For Daddy-O). The rhythm section of Hank Jones, Sam Jones and Art Blakey creates a tight, focused groove. Adderley's luscious, romantic improvisation on Dancing In The Dark can easily compete with Charlie Parker or Johnny Hodges. The band transforms Autumn Leaves and Love For Sale into personal, cliché-free swingers. Allison's Uncle expands a bopping end to Somethin 'Else, one of hard bop's best laid-back blowing sessions. The result is indeed Somethin 'Else. Both horns are at the peak of their lyrical improvisation skills when they let go of their beautiful, flowing blues lines (in the title piece and One For Daddy-O). The rhythm section of Hank Jones, Sam Jones and Art Blakey creates a tight, focused groove. Adderley's luscious, romantic improvisation on Dancing In The Dark can easily compete with Charlie Parker or Johnny Hodges. The band transforms Autumn Leaves and Love For Sale into personal, cliché-free swingers. Allison's Uncle expands a bopping end to Somethin 'Else, one of hard bop's best laid-back blowing sessions. let go of fluent blues lines (in the title piece and One For Daddy-O). The rhythm section of Hank Jones, Sam Jones and Art Blakey creates a tight, focused groove. Adderley's luscious, romantic improvisation on Dancing In The Dark can easily compete with Charlie Parker or Johnny Hodges. The band transforms Autumn Leaves and Love For Sale into personal, cliché-free swingers. Allison's Uncle expands a bopping end to Somethin 'Else, one of hard bop's best laid-back blowing sessions. let go of fluent blues lines (in the title piece and One For Daddy-O). The rhythm section of Hank Jones, Sam Jones and Art Blakey creates a tight, focused groove. Adderley's luscious, romantic improvisation on Dancing In The Dark can easily compete with Charlie Parker or Johnny Hodges. The band transforms Autumn Leaves and Love For Sale into personal, cliché-free swingers. Allison's Uncle expands a bopping end to Somethin 'Else, one of hard bop's best laid-back blowing sessions. cliché-free swingers. Allison's Uncle expands a bopping end to Somethin 'Else, one of hard bop's best laid-back blowing sessions. cliché-free swingers. Allison's Uncle expands a bopping end to Somethin 'Else, one of hard bop's best laid-back blowing sessions.more