Adderly worked with psychedelic cosmonaut David Axelrod among others and the religious themes which borrow from the Bible to the Bhagavad Gita and Buddhism make an interesting backdrop to the blues jazz rock fusion showcased on this double album. i've come back to this album more than a few times only to pick up on something new on the way. it's a fun idea to put cool religious/philosophical concepts over swinging seventies soul jazz fusion. not that the sermons are long and dominate the record - they don't . they usually just open a new set and leave you to marvel at some profound idea while the musicians do their thing after that! Somewhat similar or comparable to Miles' "Bitch's Brew" album, though perhaps less dark.
An extension of the popular Original Jazz Classics series (est. 1982), the new OJC Remasters releases reveal the sonic benefits of 24-bit remastering-a technology that didn't exist when these titles were originally issued on compact disc. The addition of newly-written liner notes further enhances the illuminating quality of the OJC Remasters reissues. "Each of the recordings in this series is an all-time jazz classic," says Nick Phillips, Vice President of Jazz and Catalog A&R at Concord Music Group and producer of the series.
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…
A few seconds of spacy echo loops and you know where this album is coming from – the early jazz/rock era, the Age of Aquarius and all that. Yet this crazy amalgam of jazz, rock, electronics, and spoken astrological advice by the popular Los Angeles DJ Rick Holmes actually works, for the music behind the soulfully intoned words is very inventive and Holmes plays effectively off its rhythms.
Killer work from the same sessions that gave the world Cannonball Adderley's classic Black Messiah album – live material from an extended stretch as the Troubadour club in LA – featuring a very righteous, freewheeling version of Cannonball's group! The lineup features some wonderful work on Fender Rhodes from George Duke – who brings a more soulful, spiritual current to the proceedings than Joe Zawinul did in earlier years – a really commanding presence that hints at his brewing solo fame, and which is a very welcome addition to the core lineup, which also includes Cannon on soprano and alto, and brother Nat on cornet!
Fantastic work from the massive electric years of the Cannonball Adderley Quintet – one of the group's last records to feature the keyboards of Joe Zawinul – and also one of the heaviest from the time! The set's a double-length gem that presents the group in an open live setting – one that really displays the full charm of their approach at the time, and that wonderfully crowd-winning mode that made Cannon a key act at this time for rock and soul audiences too! Adderley raps a bit at key points, and brings some righteous energy to the concert – while the rest of the group follow up with performances that really send the whole thing home – Nat Adderley on cornet, Zawinul on Fender Rhodes and piano, Walter Booker on bass, and Roy McCurdy on drums. Cannon plays some soprano sax, in addition to his familiar alto. Produced by David Axelrod too!
One of the best-ever Nat Adderley albums, and a damn funky set of tracks that has a tight soulful feel! The session's got a similar feel to some of the other rare late 60s Milestone albums (like the 2 killers by Bobby Timmons!) – especially in that it's got a group that plays with the fullness of a larger ensemble, and who race in and out nicely, to support the funky solos of the leader. Of course, some of the other players are pretty darn nice in the solo department too – like Joe Henderson on tenor, Jeremy Steig on fluge, and Joe Zawinu on piano – and they also manage to keep a tight rhythmic groove throughout. Titles include "The Scavenger", "Sweet Emma", "Rise Sally Rise", and "Melnat".
Cannonball Adderley with David Axelrod production – a combination that couldn't miss back in the 60s! In keeping with the success of the Mercy Mercy Mercy album done with Axelrod, Capitol did everything they could to catch Cannonball in a live setting – a great move, given the open, soulful energy his group had in the format – crowd-pleasing, but always plenty darn creative too! Added to the mix here is some nice production by David Axelrod, capturing all the right moments in all the right ways – especially when Joe Zawinul steps up to take some sweet solos on the keys – and the great Charles Lloyd serves up some mighty nice work on flute and tenor sax. Other players include Nat Adderley on cornet, Sam Jones on bass, and Louis Hayes on drums – and titles include "The Song My Lady Sings", "Little Boy With The Sad Eyes", "Work Song", and "Sweet Georgia Bright".