This pressing has: - 47 WEST 63rd - NYC address and MICROGROOVE, and no ® on the labels - Deep groove on both sides. - No "Inc." in the address on the labels, or back cover. - "P", for the Plastylite pressing plant, is stamped a bit crookedly, and hard to read - RVG stamped in the trail off, both sides. - Address in back cover should be printed with Serif font and is considered the first printing, per Fred Cohen's "A guide for Identifying Original Pressings", page 105.
Miles Davis performs by courtesy of Columbia Records. Hank Jones performs by courtesy of Capitol Records. Recorded on March 9, 1958.
The Plastylite logo is stamped at a slight angle on the side 1 dead wax, so only the top of the logo is visible. On side 2, it was stamped at a more extreme angle, causing a "dent" in the original master lacquer, and is even less recognizable. On both sides the 9 and M are etched "sideways" relative to the rest of the information that's etched or stamped.
Barcode and Other Identifiers
Matrix / Runout (Label side A): BN 1595-A
Matrix / Runout (Label side B): BN 1595-B
Matrix / Runout (Runout side A, variant 1: "P" logo & RVG are stamped, 9 & M are etched "sideways".): BN-LP-1595-A (P) 9 M RVG
Matrix / Runout (Runout side B, variant 1, "P" logo & RVG are stamped, 9 & M are etched "sideways".): RVG (P) BN-LP-1595-B 9 M
Matrix / Runout (Runout side A, variant 2): BN-LP-1595-A Q MP RVG
Fantastic album! I was fortunate enough to pick up this original pressing along with 2 Chet Baker pressings and a Charlie "Bird" Parker LP about 6 months ago for $1 each. Color me "Lucky", and yes, there is a "God"!
Stunning music here. Adderley's sax runs are insanely good and the call and response with Miles Davis is totally on point. Effortlessly cool music and have to big up the drumming to. Loose and swinging
Perhaps I’ve watched too many movies, because I pictured my adventure into the world of Jazz as being more cerebral, more intellectual and more scholarly ... 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 with rock, I like it “Stoner,” and laid back, with just enough edges to hold my attention, designed around a core that develops and moves me deeper within myself ... 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 ... and here on Cannonball Adderley’s release “Somethin’ Else,” I’ve found a kindred spirit.
Julian’s forty seven year saxophone career was far to short, by the time he should have been hitting his stride, and shifting into high gear he was gone. Cannonball came from a very technical musical background, not only playing but teaching music, which is no doubt one of the reasons his particular form of Jazz both connects and resonates so well. 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 ... understanding how spacing, bars, and chords worked their magic. While he rolls along on his sax, one can easily hear the biting clarity of Charlie Parker. Yet he wasn’t about to have his music sound cold, he went about developing warm round tones reminiscent of Benny Carter ... but don’t go thinking all of his music is as soulful as that found here, Adderley was a seminal influence on the driving style of Hard Bop, and there was no holding him back if he decided to rip loose and swing with faster tempos ... 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.
Adderley’s band was as tight and compact as he was in stature, and it’s brilliant to hear on this record, the songs on which Miles Davis steps in, participating in like style and fashion, yet letting those signature Miles Davis elements shine through ... he was truly a generous man. Art Blakey will attest to that, so will Bill Evans, Oscar Peterson, Sara Vaughan, Dianh Washington, John Coltrane, Sergio Mendes, Wes Montgomery and Nancy Wilson ... Brian Jones of The Rolling Stones is said to have named both of his children Julian, in honor of Mr. Adderley ... and I’m sure I’ve left out a dozen more.
This is the Jazz I love. “Alison’s Uncle” is the only song on this release that did not strike a chord with me [and that was because of the brassy drumming], but that’s just my taste ... this music is so cool, and so smooth that it is infectious ... working it’s way into the mind, body and soul. As brilliant as each note is, those same notes seem understated, floating like smoke, sustained just long enough for rhythmic perfection. Trying to find something you don’t dig on this album is just what you are going to have to do ... but I don’t believe that you’ll have much success.
One of my all-time favorite jazz records. Everyone is in top form and plays beautifully, and the arrangements are top-notch. Check out Miles' curious, almost Oriental intro on Autumn Leaves, plus Hank Jones' delicate, filigreed piano work on his solo & the outro over Sam Jones' solid groove, on this stellar version. One For Daddy-O is a prime bluesy hard bop chestnut. And Dancing in the Dark is a tour de force by Cannonball, one of the greatest solos in jazz, a gorgeous ballad that Adderley turns on its ear, then upside down and backwards, retrograde, and every other way in an amazing display of power and beauty and sheer melodic inventiveness. There's the faintest hint of accompaniment by the rhythm section of Blakey/Jones/Jones but mostly it's just Cannonball Adderley blowing his heart out. And if it doesn't make yr jaw drop...check your pulse. You may be one of the pod people. Everyone else-- enjoy Somethin' Else.
One of the very best Jazz records ever, never getting tired of this one. Sometimes choices in music are the obvious ones. Putting on the classics so to speak, no secret stash, this is a well known record. I compared four different copies, all pre 1966 Blue Note with ear (New York / West with Inc / West with Inc. only on one side of the label / West no Inc. no R, they all sound (exceptionally) good, it's getting even better the closer you reach to this first pressing (West 63rd with no Inc. No R). The sound quality of this pressing is out of this world and the music too. Perfect record.