CANNONBALL ADDERLEY
Know What I Mean? (OJC)
Reviewed by Ron Saranich

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On Know What I Mean, recorded in 1961, Cannonball Adderley was joined by Bill Evans on piano. It was not yet two years since the two had played together on Miles Davis' Kind Of Blue. Both Adderley and Evans had just begun to hit the big time with their own solo careers, and, in fact, major commercial success was imminent for both. For this session, they were joined by the current rhythm section of the Modern Jazz Quartet, Percy Heath on bass and Connie Kay on drums.

The music, which featured several standards as well as two Evans originals, has a relaxed, easy-going pace that is highly listenable. However, for some reason, sparks of intensity never seemed to fly. Perhaps it was because Adderley was one of the most extroverted of jazz personalities while Evans one of its most introverted, and mixing those styles in the only two soloists was difficult. The two best numbers are the Evans songs. Adderley's playing on "Waltz For Debby" is hot and funky, the perfect way to begin the recording, and Evans sounds inspired. However, it isn't until the closing title track that the band again neared the same level of intensity and vitality as the opening number.

I've listened to this session several times in the past few days and find it excellent, swinging jazz. However, both Adderley and Evans have better work currently available for purchase. For instance, Adderley's Somethin' Else or The Cannonball Adderley Quintet In San Francisco and Evans Waltz For Debby or Portrait In Jazz are superior selections. Serious jazz fans will want this recording for their collection as it's one of the few Adderley/Eavns collaborations currently available. In summary very good, but not quite great, jazz.

© 2001 - Ron Saranich