Miles Davis (trumpet); Cannonball Adderley (alto sax); Hank Jones (piano); Sam Jones (bass); Art Blakey (drums)
(Review by Lance)
Surprisingly, apart from Blakey, none of the above were Blue Note regulars and the end result, whilst excellent, is far removed from the hard bop sessions associated with the label. Only Adderley's blistering alto fits the Blue Note template. The rest is, pardon the pun, something else!
Miles, on the first two tracks, plays tightly muted as was his trade mark at the time although he does cut loose a bit more on the title track, and on One For Daddy-O, a tune composed by Cannonball's brother Nat. Overall, I think Nat may have better fitted the bill. Hank Jones, is never less than immaculate. In my mind I always imagine him playing with Persil-white gloves on. Having said that, when I saw him at the North Seas Jazz Festival some years later, he was much more flamboyant. Sam Jones does what bass players do and Blakey is surprisingly more restrained than he was to become once he became Postmaster General with the Jazz Messengers.
Without doubt Cannonball is the star, his feature, Dancing in the Dark, transforms the ballad into an emotional blues drenched outburst. Yes, Cannon reigns supreme although, once Miles takes that mute from out of the bell of his horn, that supremacy is challenged.
Back in 1961, Jazz Journal reviewers gave it a 5 star and three 4 star ratings when choosing their Album of the Month. Averaging at 4.25 stars, I think they got it right!
Lance
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