Somethin' Else

Product Information

For reasons that extend far beyond the outstanding playing and flawless repertoire, Somethin’ Else is without question a record you’ll always want to watch and hear come together. At the end of that track, Davis can be heard addressing producer Alfred Lion, saying "is that what you wanted, Alfred? The twelve-bar blues "One for Daddy-O" was written by Adderley's brother Nat for Chicago radio DJ Holmes "Daddy-O" Daylie.

but, to my delight, what I found as I walked through the differing syncopations, is that my taste in Jazz runs along the same lines as my taste in rock. As veteran critic Bob Blumenthal observed writing about the album four decades after its release, “The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer. and while Jazz at first seems to control the environment, it didn’t take me long to adjust my seating, find my footing and slip into the groove, totally engulfed . The Plastylite logo is stamped at a slight angle on the side 1 dead wax, so only the top of the logo is visible.In the 1980s, the album was re-issued with a bonus track from the recording session that was listed as "Alison's Uncle" and credited to Cannonball Adderley. Mobile Fidelity Sound Lab’s UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces.

On one hand, the sound is so rich and detailed, you want to stretch out your hand and grab at the bass. I compared four different copies, all pre 1966 Blue Note with ear (New York / West with Inc / West with Inc. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would right in front of you on a stage. What emerges is not just the sound of five players doing their jobs well, but a group reveling in their common ability to galvanize and shape each other’s ideas.Jones’ foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomising the definition of rhythm. Plain and simple, Adderley’s jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements – not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition.

The composition is actually Hank Jones' "Bangoon", and first appeared on Gigi Gryce's 1957 Jubilee Records album Jazz Lab, with Jones playing piano. This collector’s version takes you there – there being Rudy Van Gelder’s legendary New Jersey studio in March 1958 to witness it all unfold, again and again. Limited to 6,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity’s ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector’s edition pays tribute to the record’s merit and includes the bonus track “Allison’s Uncle.The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. Brian Jones of The Rolling Stones is said to have named both of his children Julian, in honor of Mr. Adderley and Davis bring contrasting approaches to the table yet sound of a singular mind on “Autumn Leaves,” with the latter’s muted trumpet and the headliner’s lush alto saxophone dovetailing into a performance that endures as a blueprint for expression, counterpoint, sophistication, fluidity, and linearity.

Adderley was a member of Davis' group at the time, and the album was recorded shortly after Davis' own landmark album Milestones. Indeed, Davis plays several of the first solos, composed the bluesy title track and, according to the liner notes, chose most of the material. The musicians might not agree on every particular turn, but their interactions are governed by the shared understanding that the thread of a conversation is too precious to allow ordinary jive showboating to muck up the works. Their bandmates, picking up on the intimate vibe and calm mood here – as well as on the spry, head-over-heels spirit of “Love for Sale” – join in on the conversation with sharp economy and float-on-air roundedness.

The album was recorded during Adderley's membership in the Miles Davis' First Great Quintet, and it also marks one of the few recordings Davis made as a sideman after 1955. Throughout its history, Mobile Fidelity has remained true to this goal, pioneering state-of-the-art technologies and setting audiophile standards that remain in place today. yet, even in the face of poly rhythms and poly tonalities, which appeal to a certain elite, Cannonball would not forsake, or forget his roots, raising the bar, yet preserving the music, keeping it understandable by using the vocabulary of Blues and Gospel. Those who exist within their own sphere of art tend to produce works that express an inward journey, while Julian was so acutely in touch with his surroundings that he was able to include the listener .