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| | Know What I Mean? | | | Music Artist : | | Cannonball Adderley | | Music Style : | | General | | Record Label : | | Ojc | | Release Date : | | 1990-10-25 | | Store Price : | | $11.98 | | Artistopia's Price: $11.98 | | Usually ships in 24 hours | | |
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CD Tracks/Songs
Disc 11. Waltz for Debby - Cannonball Adderley, Bill Evans, Bill Evans
2. Goodbye - Cannonball Adderley, Bill Evans, Bill Evans
3. Who Cares? [Take 5] - Cannonball Adderley, Bill Evans, Bill Evans
4. Who Cares? [Take 4][*] - Cannonball Adderley
5. Venice - Cannonball Adderley
6. Toy - Cannonball Adderley
7. Elsa - Cannonball Adderley
8. Nancy (With the Laughing Face) - Cannonball Adderley
9. Know What I Mean? [Re-Take 7] - Cannonball Adderley
10. Know What I Mean? [Take 12][*] - Cannonball Adderley, Bill Evans, Bill Evans
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Other Artist Albums
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Customer Reviews of This Album/CD |
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 Readily Enjoyable
Submitted on: 2009-07-04 |
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| Jazz fans who really love Miles's Kind of Blue probably know that this album is something of a follow-up to that session, featuring as it does two of the players from Miles's band, alto saxophonist Cannonball Adderley and pianist Bill Evans, here backed up by Percy Heath on bass and Connie Kay on drums. As you might expect from such a lineup, the music is at once soulful and tender, full of rich melody. Like Kind of Blue, this is an album that can be readily enjoyed even by those who do not ordinarily think of themselves as jazz fans. |
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classic performance
Submitted on: 2009-04-21 |
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While this is not a great work it is the work of two of jazz greatest. Both graduates of Miles Davis groups that were involved with albums such as " Kind of Blue". So often I feel we must not judge collabarations such as this on an individual basis , but as a part of the artists work as a whole. Thus said as a fan of both of these artists, it plays a critical part in my catalogue of each mans work. This is jazz history enjoy.
I was fortunate to have spent a lot of time in the Village and lived for three years in the East Village during the sixties. And spent time in all of the clubs absorbing the music, mostly the jazz that flowed through New York at the time, and these two will always be two of my favorites. |
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Cannonball Cools It Down
Submitted on: 2008-09-21 |
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This is, as far as I know, the final recorded meeting of Cannonball Adderley and Bill Evans, the warmest and the coolest of the Kind of Blue alumni. To throw another quirk into the mix, they're backed by the light and precise tandem of Percy Heath and Connie Kay, making a guest appearance away from the MJQ.
This is a nice album, but falls short of classic status in my view. For one, while some of Cannonball's quintet albums around this time period were probably a little too light on the ballads, this one goes too far the other way. The best material is the up-tempo stuff - "Waltz for Debby", "Who Cares", "Toy" - which is just fantastic, and in general none of the rest fit into my "favorite Cannonball ballad performances" list. Also, I am not crazy about the overly-restrained rhythm section - it would have been great to have Philly Joe Jones or Paul Motian in the drum seat instead.
OK, enough complaining. If you want a mellow ballad-oriented album, more restrained than what Cannonball usually recorded, this will be right up your alley. But there are better ballad-oriented albums - and better Cannonball albums - out there. |
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 Very nice jazz album - it swings!
Submitted on: 2008-02-06 |
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I've been listening to Jazz heavily for years now, but I just checked out "Know What I Mean?" by Cannonball recently. I don't know why I've waited so long to actually listen to this album, but it was worth the wait. The group just plays so well together and with Cannonball and Evans fresh from their working with Miles it's nice to hear how well they play together. The rest of the rhythm team - Percy Heath on bass and Connie Kay on drums - work very well together from their working with the Modern Jazz Quartet. It's just top notch jazz -- while I'd love to hear Bill Evans stretch a bit more his statements are very nice. His Village Vanguard recordings from the same year is a great example of the best jazz interplay, this group maintains a different type of interplay (not better or worse just different) with Bill (and Cannonball) responding to the rock solid rhythm. If you neglected to check this one out, like I did, now is the time to check it out!
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Great Combo Playing Great Jazz
Submitted on: 2008-01-04 |
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This is a fascinating collaboration. The result is far more rewarding than words can convey. Adderly is playing neither at his most blazing, or his most edgy; rather, he just lays back, relaxes and has fun singing out on some fairly straight-forward, cheerful standards. He occasionally lets his "Charlie Parker" show, but his performance is mostly "engaging". It's also technically wonderful, but the joy of the performance is what holds you.
Adderly shows his typical generosity with his guest musician. Bill Evans is just a few months removed from his legendary Village Vanguard performance. He might as well be hours away - his intriguing voicings and sparse accompaniments are very identifiable. However, he is not constantly trading off licks with the bass player like he did with his regular bassist Scott LaFaro; he has more room to work when it's his turn to solo, so his playing is busier than when he plays with his LaFaro trio. Evans fans may miss LaFaro, but it is a rare treat to hear Evans do all the heavy lifting when it's his turn to solo (at least in this stage of his career).
As a Bill Evans fan, I'm already covered up in "Waltz for Debby" renditions and thought this track would be a throw-away, especially since I have not been enamored with horn parts on the song. What a surprise - this version has quickly become my favorite version of the song and is one of my favorite cuts on the CD.
As a final note, the recording is "just right" here. There is a nice sense of space on this record that puts the listener right in the middle of things. The mix allows everyone to be heard clearly and stands out precisely because it is completely transparent.
These guys can play circles around just about anyone, but because they don't let their technique overtake the music here and let the fun show through, this is a very successful recording as a result.
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