Cannonball Adderley Somethin’ Else (1958) Blue Note



Selection: Autumn Leaves (Kosma/ Prevert)

A track that could segue into Kind of Blue, Miles simmering muted trumpet paints the melody,  Adderley’s alto solo is inspired, beautiful in structure, dripping with elegant grace notes and flourishes, falling away to rippling piano worthy of Duke Pearson on  Idle Moments, while Blakey is the epitome of restraint, pushing along the cool and melancholy mood together with Hank Jones flawless execution of the underlying chord changes. Total empathy and artistry between the players, and its just 1958.

The song Autumn Leaves dates from 1945, in French, Les feuilles mortes ,”The Dead Leaves”, with music by Joseph Kosma and lyrics by poet Jacques Prevert, a  metaphor of falling leaves symbolizing a lost relationship. In passing, you have to ask, what is it about French songwriters that they don’t seem able to hold down a steady relationship? The  poignancy of the song is retained in the chord changes that have made it a permanent jazz standard. Miles and Adderley’s interpretation remains timeless.


Miles Davis (t) Cannonball Adderley (as) Hank Jones (p) Sam Jones (b) Art Blakey (d) recorded Rudy Van Gelder Studio, Hackensack, NJ, March 9, 1958

Miles Davis, King of Cool on contract to Columbia, Hank Jones veteran of swing on contract  to Capitol, Art Blakey the thundering voice of Bop, Cannonball swaggering in his prime, Sam Jones – a solid bass player always in demand, doing the heavy lifting.


A recent exchange with LJC poster Matty reminded me that  a lot of great jazz recordings were missing from  LJC, for the simple reason they did not happen to be a recent acquisition. When I started out with the idea of a “Diary of a Record Collector” it seemed right to post about acquisitions, but moving on, new acquisitions are falling in number as we enter the world of the more rare and expensive records, and there is often much more interesting vinyl on the shelf than there is in the post. So I have decided to expand the blog to include occasional posts on classic titles.

One of those desert island discs, especially to be desired on an island  where there is no autumn and no leaves, is Cannonball Adderleys “Somethin’ Else” . Every track is a jazz classic, the whole album is a jazz classic, some of the finest jazz on record.

(I can’t run to Family Favourites, but if there are any records you would like to see featured here – if I have them on vinyl – let me know. I’ll keep an eye on requests)

Vinyl: BN 1595  mono NY labels no DG

Original Blue Note but second third pressing on NY labels, the original of which would sport 47 West 63rd St labels and deep groove However life is too short to be without a copy of this record, whatever the label.

Interesting, the etchings for the A side  indicates a third master lacquer  A-2 as source,1595-labels-1800px whilst the B side indicates the first lacquer, complete with the typical “9M” etching. Anyone out there with the first press on 47 West 63rd anything to add on the run-out of their copy?



Collectors Corner

Second pressings are not difficult to come by, and  it probably sold in good enough numbers to stop Ebay sellers yelping Rare!!!  A perfect first pressing might be nice, but there are other records to chase. This copy is not perfect, but I enjoy it enough as it is. There are other great records still to chase.


29 thoughts on “Cannonball Adderley Somethin’ Else (1958) Blue Note

  1. Late to the party here 😀 I was given a very nice second pressing of this record today 🙂 🙂
    W63rd st labels with Inc and r, DG .
    I went over a friend’shouse today to do some work at her parents house and she gave me some of her dad’s old jazz records. Also got a copy of Roy Haynes we three, cannonball adderley in San Francisco, brubeck time out, and muddy waters at Newport. All original mono of course, I almost fell over! My lucky day 🙂

  2. Could someone please help me identify my copy? From the discussion, it looks like I might have a fairly elusive first pressing mono.

    Deep Groove
    Plastylite “ear”
    BN-LP-1595-A 9M
    BN-LP-1595-B 9M
    47 W. 63rd label
    No “R” trademark symbol
    No “INC.” on back cover

  3. Just received my mono copy today, with the same A-2 / B stampers. Side 2 did seem a bit fresher as soon as it started. Now I wish I had a 1st press! I also thought the piano sounded a little muddy.

    • On all the versions I have had the piano sounded what you describe as muddy, i.e. not crisp. I bought the album upon its release (47W63 – no Inc. – no R), 1st pressing. Traded it in for a stereo copy upon its release (1st pressing), which I traded in recently for a 47W63 – Inc – R), second issue. The muddy sound goes with the mood of this particular recording, which is an exceptional summit meeting of giants. The recording would definitely be different with another piano sound.
      I should have kept my original mono, which is now unaffordable, but I am happy with what I have (same as pgiampi1). I bought this NM for a reasonable price lately, for less than what I got for the stereo copy.

      • Good to know, thank you. I’m interested to hear the new Music Matters 33rpm issue upon release and how it compares to other pressings.

  4. I have a SPOTLESS copy with ears and 47 west labels, although mine has INC and R. My copy sounds STUNNING…EXCEPT for the piano, which sounds particularly muddy at times. It’s strange that only one instrument would sound “wrong.” I can’t determine if it’s an issue of mixing, pressing, my equipment, etc. Bottom line, however, is I would trade muddy piano for clear as a bell Miles and Cannonball (Adderley in particular sounds STUNNING on Blue Note…rather than make his sound more brilliant, RVG seems to build more body around it!)

    • You might find the piano a bit less muddy on the CD version (RVG edition). Still, I prefer the LP because, strangely, the “primitive” stereo separation appeals more to me in this particular case.

    • Like I said below, Dottore: now the question is who the first one is going to be with the “A-1” suffix on his pressing 🙂

  5. Another great version of Autumn Leaves on Miles a Antibes, recorded 1963. Miles , Herbie Hancock, George Coleman, Ron Carter and Tony Williams. Great Tony Williams ! Unfortunately my french original pressing has a lot of surface noise even though the vinyl looks clean. I am sure Rudolf owns a clean copy of this one. I would like to know if the surface noise is a result of a poor pressing quality, or if I should look aut for another better playing copy.

  6. Did Miles do a better version of Autumn Leaves? I can’t believe he did. Pure gorgeousness, achingly so. It’s a great idea to cover records you already own, LJC, rather than only new acquisitions. After all, your blog is about ‘collecting’ and all of these records have, at one time or another, been ‘collected’.

    • The only drawback of the original LP is that it doesn’t include “Bangoon” aka “Alison’s Uncle”. I am not a great believer in bonus tracks, but this one is a real treat, no less georgeous than the other tracks. I don’t know what time limits they had back in 1958, but I can’t think of any other reason for not having included it.

  7. Glorious. I never grow tired of this record. “One For Daddy-O” is a favorite (Nat Adderley could write some serious swingers). FYI Andrew, my New York USA copy has deep groove on both sides, but the same run-out etchings as yours.

  8. I just took a look at my second pressing (with INC and R) and it had the usual engravings for a first lacquer.
    I always thought, that “Autumn Leaves” is the standout track and the other ones were somewhat inferior. I could imagine “Autumn Leaves” to be featured on “Kind of Blue” without any hesitation, whilst the others not really. Oh and could you imagine, how Coltrane would Sound just before the piano solo? With “Kind of Blue” in my head, the track is certainly lacking the voice of Trane.

    • WDYM by ‘the usual engravings for a first lacquer’, does your side 1 have a “-2” or not? I’m very curious as to whether or not your copy is from a different lacquer, as it would be the first instance I have ever heard of…I wasn’t under the impression it was impossible of course, as it makes sense for a popular title like this that more than one master lacquer would have been used to create metal masters at the pressing plant.

      • I am curious about that, too, because from what I’ve learned here at LJC is the suffixes like “-1” or “-2” meant that if a test pressing from a very first or, subsequently, second lacquer wasn’t up to par, Rudy had to cut a new one. Hence, “-1” implies second lacquer cut and “-2” a third, as is the case with apparently all pressings of Somethin’ Else. So a pressing without any suffixes would be a real curiosity…

        You can see the photos of my copy by clicking HERE and make sure you view in ‘slide show mode’ for best results 😉

        • I just double checked an the engravings of side one are BNLP-1595-A and the 9M.
          So I’m not in this engravings-thing, but what does that mean?

          • Well, Katharsis, share your photos with all of us, ’cause given the fact that everyone seems to have the “A-2” on their pressing and the 9M only on side 2, then your copy really makes a difference with just “A” in your trail out AND the elusive 9M on side 1 as well! We haven’t even seen anyone with “A-1” so far, only “A-2”, while you seem to be the only one with “A”! This screams for photos 😉

            • After reading this I had to run and check my copy and give up my luker status. My DG, no R, 47w 63rd, mono copy has -A on side 1 and the 9M. So it does exist! Great blog by the way and I love the idea of dipping into the archives for some great albums!

            • Hmmmmm… I see that a few comments higher up, Dottorjazz also has a pressing with the same engravings as yours. Now the question is: who’ll be the first to come up with “A-1” in the trail out of his side 1? 😉

  9. It is good to see this fantastic album featured on LJC. We should review our classics from time to time, it makes one feel humble. I think it to be a good and reasonable policy to buy second or third originals at a reasonable price. This album, and similar ones, should always be at hand and ready to be put on the turntable. It is an original Blue Note in mono and what else could one wish? I don’t have Fred Cohen’s Blue Note bible because I would be confronted with all the stupid disposals, exchanges and sales I have done in the past, such as ditching my original first mono pressings for a later stereo version. But I would have thought that this one is a third pressing: the first was 47W63rd without the R mark and Inc, the second was 47W63rd with R and Inc. and the third a simple NYC. But for me it is not less valuable. This album is the top of the top and a true companion of mine during more than 50 years.

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