1. Blues Oriental 
2. Things Are Getting Better 
3. Serves Me Right 
4. Serves Me Right 
5. Groovin' High 
6. The Sidewalks Of New York 
7. The Sidewalks Of New York 
8. Sounds For Sid 
9. Just One Of Those Things

Artists:
Cannonball Adderley (alto saxophone); 
Milt Jackson (vibraphone); 
Wynton Kelly (piano); 
Percy Heath (acoustic bass); 
Art Blakey (drums).

This title provides ample evidence why Cannonball Adderley (alto sax) is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson (vibes) to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly (piano), Percy Heath (bass), and the one and only Art Blakey (drums). The moody "Blues Oriental" opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic "Things Are Getting Better" is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry "Serves Me Right," which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's "Groovin' High" contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. "Sidewalks of New York" bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's "Sounds for Sid" demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's "Just One of Those Things." While Wynton Kelly has been uniformly solid, his interjections stand out here as he bridges and undergirds the two as they banter with flair and aplomb. When Things Are Getting Better was issued on CD, two bonus tracks supplemented the original seven-song running order. These consist of alternate takes of "Serves Me Right" and "Sidewalks of New York." In the case of the former, it can be reasonably argued that this outtake might emotively best the version initially chosen as the master. This disc can be recommended without hesitation to all manner of jazz enthusiast, as it quite literally offers something for every taste. ---Lindsay Planer, Rovi

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01.The Henry John Story 4:49
02.The Henry John Story (return) 3:17
03.Job's Red Wagon 3:07
04.Trampin' /The Loop 7:52
05.Trampin'/The Loop (return) 2:25
06.Little John Shoes 3:09                                         play
07.Milord's Calling 5:06
08.Blues For Christmas/Rufus Playboy/Grandma's Coffin 7:33
09.Grandma's Coffin/Rufus Playboy/Grandma's Coffin (return) 5:42   play

Musicians:
Julian "Cannonball' Adderley (Alto Saxophone)
Art Farmer (Trumpet)
John Benson Brooks (Arranger, Piano)
Barry Galbraith (Guitar)
Milt Hinton (Double Bass).

This is one of the more unusual sessions that altoist Cannonball Adderley recorded during his career. Originally released under composer John Benson Brooks' name and now available as an Adderley CD, the nine-part four-movement suite has original folk melodies interpreted by a quartet comprised of Adderley, trumpeter Art Farmer, guitarist Barry Galbraith and bassist Milt Hinton; Brooks briefly plays piano on one piece. Although not essential, the music is thought-provoking, quite melodic, and looks backwards toward folk music of the 1800's while giving the pieces a 1950's jazz sensibility. ~ Scott Yanow, All Music Guide

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01. Clouds (Einhorn, Ferreira) 4:51
02. Minha Suadade (Donato) 2:22
03. Corcovado (Jobim) 6:43
04. Batida Diferentes (Einhorn, Ferreira) 3:27
05. Joyce's Sambas (Einhorn, Ferreira) 3:12
06. Groovy Sambas (Mendes) 4:59
07. O Amor em Paz :: Once I Loved (DeMoraes, Gilbert, Jobim) 7:48
08. Sambops (Einhorn, Ferreira) 3:34
09. Corcovado — (alternate take, bonus track) (Jobim) 5:38
10. Clouds — (single version, bonus track) (Einhorn, Ferreira) 2:42

Personnel:

Cannonball Adderley (alto saxophone);
Paulo Moura (alto saxophone);
Pedro Paulo (trumpet);
Sergio Mendes (piano);
Durval Ferreira (guitar);
Octavio Bailey, Jr. (bass);
Dom Um Romao (drums).

A pleasant date recorded in late 1962 with South American musicians the Bossa Rio Sextet of Brazil. Cannonball is heard alongside Sergio Mendes on piano, future Weather Report percussionist Dom Um Romao, and featured on five cuts is Paulo Moura on alto saxophone with Pedro Paulo on trumpet. Unfortunately this release contains little fire, as Adderley didn't get much rehearsal time with these musicians. Combined with the repetitious nature of the Bossa Nova these proceedings can get tedious. This session was originally released on Riverside, but Adderley took several master tapes (including this one) when he made his move to Capitol. --- Al Campbell, allmusic.com

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1. Introduction 
2. Inside Straight 
3. Saudade 
4. Inner Journey 
5. Snakin' The Grass 
6. Five Of A Kind 
7. Second Son 
8. The End

Personnel
    Cannonball Adderley - alto saxophone
    Nat Adderley - cornet
    Hal Galper - electric piano
    Walter Booker - bass
    Roy McCurdy - drums
    King Errisson – percussion

After seven years with Capitol, Cannonball Adderley switched labels to Fantasy where he reunited with producer Orrin Keepnews and the quality of his music immediately improved. With Hal Galper as the band's keyboardist (he contributed three of the seven group originals to this LP), this version of the Quintet (actually Sextet with the addition of percussionist King Errison) was more jazz-oriented than previously while remaining modern and funky. ---Scott Yanow, All Music Guide

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01. Two Left Feet
02. Just Squeeze Me (But Don t Tease Me)
03. I Got It Bad (And That Ain t Good)       play
04. Nothin
05. Jump For Joy
06. Bli-Blip
07. Chocolate Shake                          play
08. If Life Were All Peaches And Cream
09. Brown-skin Gal (In The Calico Gown)
10. The Tune Of The Hickory Stick
11. Blues Oriental
12. Things Are Getting Better
13. Serves Me Right
14. Groovin High
15. The Sidewalks Of New York
16. Sounds For Sid
17. Just One Of Those Things

Cannonball Adderley (alto saxophone)
Barry Galbraith (guitar)
Leo Kruczek, Gene Orloff (violin)
Dave Schwartz (viola)
George Ricci (cello)
Emmett Berry (trumpet)
Bill Evans (piano)
Jimmy Cobb (drums)

Digitally remastered collection from the Jazz great featuring a pair of albums on one CD: Jump For Joy and Things Are Getting Better. One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.

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1. Waltz For Debby (Quartet) 5:12
2. Goodbye 6:16
3. Who Cares? (Take 5) 5:53
4. Who Cares? (Take 4) 5:53
5. Venice 2:51
6. Toy 5:05
7. Elsa 5:52
8. Nancy (With The Laughing Face) 4:07
9. Know What I Mean? (Re-Take 7) 4:54
10. Know What I Mean? (Take 12) 4:51

Personnel
    Cannonball Adderley - Alto saxophone, leader
    Bill Evans - Piano
    Percy Heath - Bass
    Connie Kay - Drums

Know What I Mean? was recorded between January and March 1961, with bassist Percy Heath and drummer Connie Kay supporting the saxophonist and pianist. The reissue includes three bonus tracks that are alternate takes of "Who Cares?," "Toy" (previously unreleased), and "Know What I Mean?".

"This album takes two artists who were part of the legendary, historic 1958 Miles Davis Sextet and pairs them together," says Phillips. "The modal approach that Evans was pioneering in the context of that 1958 group reveals itself in some of the material that he and Cannonball are playing on this album."

Orrin Keepnews, who produced the original recording sessions, writes in his new liner notes for this OJC Remasters reissue, "One of the many advantages of working with a man like Julian Adderley was that he was totally stubborn about pursuing an idea he believed in. And, quite simply, he thoroughly believed in the validity of an album based on his moving very much in a Bill Evans-influenced direction."

In his liner notes to the original recording, Joe Goldberg observes that while not all of the selections are ballads, an "aura of relaxation" permeates the recording. "In this instance it can be recognized as simply a matter of four highly skilled artists away from their usual tasks and delighting in one another's musical company," he says. "Nothing more really need be said about the results of their meeting than that the feeling of delight comes through." ---Editorial Reviews

Adderley and Evans played together for nearly a year in one of the most significant units in contemporary jazz: the 1958 Miles Davis Sextet. It was a vital formative period for both men, followed shortly in each case by tremendous individual success. This memorable 1962 reunion was Cannonball's idea; the group is completed by the rhythm-support half of the Modern Jazz Quartet: Percy Heath and Connie Kay. In a remarkable display of their musical range and sensitivity, the buoyant Adderley and introspective Evans move effortlessly toward a middle ground that shows both to great advantage. --- concordmusicgroup.com

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1. Autumn Leaves - 10:58 
2. Love for Sale - 7:03 
3. Somethin' Else - 6:53 
4. One for Daddy-O - 8:25 
5. Dancing in the Dark - 4:04
6. Alison'd Uncle

Personnel
    Cannonball Adderley - alto saxophone, leader
    Miles Davis - trumpet
    Hank Jones - piano
    Sam Jones - bass
    Art Blakey – drums

It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue -- aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, ""Alison's Uncle,"" closes out Somethin' Else on a high note, changing the flow of energy in an interesting way (purists can still finish up on a quieter note, as with the original, by programming ""Dancing in the Dark"" as the final track). In many ways it's a surprise that this track was left off originally -- it's an excellent piece, with Adderley and Davis trading licks and solos while Jones and Blakey keep pace. Blakey also takes some terrific solos. The remastering job is the usual superb MFSL effort, producing clear sound with almost no background noise. Due to the original recording (made in 1958), Davis' trumpet sometimes seems a little shrill and metallic, but it's not an overwhelming problem -- certainly not when you consider Davis' style. Altogether, an excellent addition to any jazz collection. --- Steven McDonald, allmusic.com

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1. Introduction 
2. Aries 
3. Libra 
4. Capricorn 
5. Aquarius 
6. Pisces 
7. Sagittarius 
8. Gemini 
9. Leo 
10. Virgo 
11. Scorpio 
12. Cancer 
13. Taurus

Artists:
Cannonball Adderley – alto, soprano sax
Nat Adderley – cornet
Ernie Watts – tenor sax, flute
Mike Deasy – guitar
George Duke - electric piano [Fender Rhodes]
Walter Booker – double bass, guitar
Roy McCurdy – drums
Rick Holmes - Voice [Narration], Written-by

ASTROLOGY, the study of the signs of the Zodiac. How does one rationalize an development with astrological significance? RICK HOLMES, the creator of the narrative indigenous to the artistic creativeness formed in this recording, is a person whose day-to-day behavioral continuity by his own concepts of the influence of the activities of astrological movement. Mr. Holmes, well known in the greater Los Angeles area, is a radio personality who is recognised by various people who have the priviledge of being exposed to "RICK'S FAMILY AFFAIR" aired nightly on radio station KBCA-FM. (One of the most important outlets for Jazz and other musical expression, including sophisticated rhetoric, in Southern California.) Devoted listeners to Rick's program are well aware of his expertise with regards to astrology. This recording marks the first effort to broaden any interested audience or to enhance the awareness with regards to astrology or to enhance the awareness of people to whom the soulful exhortations of Rick have never been available. --- Liner Notes

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1. Work Song (Adderley, Nat/Brown, Oscar Jr.)5:07
2. Jeannine (Pearson, Duke) 7:18
3. Easy Living (Rainger, Ralph/Robin, Leo) 4:23		play
4. Them Dirty Blues (Adderley, Cannonball) 7:12
5. Dat Dere (Timmons, Bobby) 5:31
6. Del Sasser (Jones, Sam) 4:43
7. Soon (Gershwin, George/Gershwin, Ira) 5:37
8. Work Song [Alternate Take] 5:51
9. Dat Dere [Alternate Take] 5:30

Personnel
    Julian "Cannonball" Adderley – alto sax
    Nat Adderley – cornet
    Bobby Timmons – piano
    Barry Harris – piano
    Sam Jones – bass
    Louis Hayes – drums

Recorded in early 1960, Them Dirty Blues contains two classic jazz compositions: Nat Adderley's "Work Song" and Bobby Timmons' "Dat Dere," the sequel to "This Here." This was alto saxophonist Cannonball Adderley's second quintet with brother Nat Adderley (cornet), and features Bobby Timmons on piano (who plays on four tracks and was replaced by Barry Harris on the remaining five), Sam Jones on bass, and Louis Hayes on drums. Them Dirty Blues was originally released on Riverside until Adderley made the switch to Capitol where he brought several master tapes with him, including these sessions. The CD reissue contains an alternate version each of "Work Song" and "Dat Dere." --- Al Campbell, allmusic.com

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1. Pretty Paul (JC Adderley)/Denise (W. Booker) 
2. Directions (Zawinul)/Walk Tall (N. Adderley) 
3. The Scene (JC Adderley/ J. Zawinul)   

Julian "Cannonball" Adderley - Soprano & Alto Saxophones
Nat Adderley - Cornet
George Dukes - Keyboards
Walter Booker - Bass
Roy McCurdy – Drums

1972-10-19, Warsaw, Poland

One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.

Adderley already had an established career as a high school band director in Florida when, during a 1955 visit to New York, he was persuaded to sit in with Oscar Pettiford's group at the Cafe Bohemia. His playing created such a sensation that he was soon signed to Savoy and persuaded to play jazz full-time in New York. With his younger brother, cornetist Nat, Cannonball formed a quintet that struggled until its breakup in 1957. Adderley then joined Miles Davis, forming part of his super sextet with John Coltrane and participating on such classic recordings as Milestones and Kind of Blue. Adderley's second attempt to form a quintet with his brother was much more successful for, in 1959, with pianist Bobby Timmons, he had a hit recording of "This Here." From then on, Cannonball always was able to work steadily with his band.

During its Riverside years (1959-1963), the Adderley Quintet primarily played soulful renditions of hard bop and Cannonball really excelled in the straight-ahead settings. During 1962-1963, Yusef Lateef made the group a sextet and pianist Joe Zawinul was an important new member. The collapse of Riverside resulted in Adderley signing with Capitol and his recordings became gradually more commercial. Charles Lloyd was in Lateef's place for a year (with less success) and then with his departure the group went back to being a quintet. Zawinul's 1966 composition "Mercy, Mercy, Mercy" was a huge hit for the group, Adderley started doubling on soprano, and the quintet's later recordings emphasized long melody statements, funky rhythms, and electronics. However, during his last year, Cannonball Adderley was revisiting the past a bit and on Phenix he recorded new versions of many of his earlier numbers. But before he could evolve his music any further, Cannonball Adderley died suddenly from a stroke. ---Scott Yanow, Rovi

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