Somethin' Else is an album by American jazz saxophonist Julian "Cannonball" Adderley, recorded on March 9, 1958 and released on Blue Note in August later that year—his only album for the label. 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. I totally agree with others, a simple high quality gatefold cover would be much much better for presentation and the haptic overall.

Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. On both sides the 9 and M are etched "sideways" relative to the rest of the information that's etched or stamped. 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. 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.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. Nat Adderley's alternate title refers to the session having taken shortly after his daughter Alison had been born.

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. Julian Cannonball Adderley’s only Blue Note album, Somethin’ Else, would likely forever be famous in music lore if just for the presence of Miles Davis. Adderley’s huge alto sound is normally full of moxie, exuberance and celebration; there’s some of that here, but along the way he also follows the hints that Davis left, sketching passages of profound wistfulness and longing. Through the choices he makes about notes and accents and phrasing, he establishes the size of the canvas, the temperament of the tune. 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 .MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab. The premium packaging and beautiful presentation of the UD1S Somethin’ Else pressing befit its extremely select status. Among other sterling attributes, it shares that landmark’s emphasis on stark, easy-to-appreciate melodies.

On one hand, the sound is so rich and detailed, you want to stretch out your hand and grab at the bass. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. We will introduce you exclusively to Duologi finance products provided by Specialist Lending Ltd t/a Duologi through the Deko platform.The Plastylite logo is stamped at a slight angle on the side 1 dead wax, so only the top of the logo is visible. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he’d make such a move after the calendar passed the mid-1950s.