This contrast also build tremendous tension that is almost palpable, and it is to the credit of the rhythm section that the differing approaches of the two horns are resolved and supported so ably. a b Cook, Richard; Brian Morton (2006) [1992]. "Julian 'Cannonball' Adderley". The Penguin Guide to Jazz Recordings. The Penguin Guide to Jazz (8thed.). New York: Penguin. pp. 9. ISBN 0-14-102327-9. Mercy, Mercy, Mercy – Cannonball Adderley – Song Info – AllMusic". AllMusic . Retrieved August 1, 2018.

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. However, the title was incorrectly listed as ‘Alison’s Uncle’ as prior to the session Nat Adderley’s wife had given birth to a daughter named Alison, and thus Cannonball became Alison’s Uncle.A.B. SPELLMAN: Yeah, this is Miles' composition, "Somethin' Else," and it does have that kind of antiphony, that call and response that was at the very root of jazz. Jazz started here, in a manner of speaking. And so the voices, which are almost human voices, in a way, are of two guys who have a lot to say to each other. It's a very relaxed conversation, but it's a meaningful conversation as well. Listening to the album again reveals how much respect Miles had for Cannonball, and while it is easy to jump to the conclusion that the trumpeter was the driving force behind the success of the record (Davis is arguably at the peak of his powers at this point in his development and playing magnificently). If you’re on the search for joyous alto saxophone playing, you probably need to look no further than Cannonball Adderley. Manfred Mann – The Five Faces Of Manfred Mann". Discogs. September 11, 1964 . Retrieved April 4, 2023.

Following Miles’ majestic solo, Cannonball sounds a little glib as if waiting for inspiration to arrive.This it does in the form a glorious two horn dialogue that lifts the altoist to new heights. DownBeat Hall of Fame". DownBeat. Archived from the original on January 27, 2017 . Retrieved February 19, 2021. 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. This time it is the trumpeter that takes the second solo and does so with a graceful and perfectly weighted offering on open horn.Brown, Geoffrey F. (August 28, 1975). "The Cannonball Rests, But Brother Nat Carried On". Jet. pp.58–61. He arrived fully formed as a vibrant and mature alto stylist who would go on to record on some of the most influential albums in the history of the music, and not to be mention some classic albums under his own name too.