Nat Adderley's alternate title refers to the session having taken shortly after his daughter Alison had been born. Adderley and Davis bring contrasting approaches to the table yet sound of a singular mind on “Autumn Leaves,” with the latter’s muted trumpet and the headliner’s lush alto saxophone dovetailing into a performance that endures as a blueprint for expression, counterpoint, sophistication, fluidity, and linearity. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. Autumn Leaves" would remain in the Davis book, and " Love for Sale" would be recorded by the Davis Sextet a little over two months later. As veteran critic Bob Blumenthal observed writing about the album four decades after its release, “The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer.

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 . There's the faintest hint of accompaniment by the rhythm section of Blakey/Jones/Jones but mostly it's just Cannonball Adderley blowing his heart out. Also on the session is trumpeter Miles Davis in one of his handful of recording dates for Blue Note. Julian’s forty seven year saxophone career was far to short, by the time he should have been hitting his stride, and shifting into high gear he was gone. I compared four different copies, all pre 1966 Blue Note with ear (New York / West with Inc / West with Inc.The vibrant potency reveals itself openly on an analogue set that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. On both sides the 9 and M are etched "sideways" relative to the rest of the information that's etched or stamped.

The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. no R, they all sound (exceptionally) good, it's getting even better the closer you reach to this first pressing (West 63rd with no Inc. Jones’ foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomising the definition of rhythm. On one hand, the sound is so rich and detailed, you want to stretch out your hand and grab at the bass.Perhaps I’ve watched too many movies, because I pictured my adventure into the world of Jazz as being more cerebral, more intellectual and more scholarly . A slip case, which holds two slip cases, each holds a slip-flip-cardboard thingy, which holds a MoFi sleeve. And Dancing in the Dark is a tour de force by Cannonball, one of the greatest solos in jazz, a gorgeous ballad that Adderley turns on its ear, then upside down and backwards, retrograde, and every other way in an amazing display of power and beauty and sheer melodic inventiveness. Among other sterling attributes, it shares that landmark’s emphasis on stark, easy-to-appreciate melodies.

Never been one of the stronger SRXs and after spinning both over the last number of days the new Mofi One Step definitely relegates this to second tier. Through the choices he makes about notes and accents and phrasing, he establishes the size of the canvas, the temperament of the tune. and while Jazz at first seems to control the environment, it didn’t take me long to adjust my seating, find my footing and slip into the groove, totally engulfed . 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 . Throughout its history, Mobile Fidelity has remained true to this goal, pioneering state-of-the-art technologies and setting audiophile standards that remain in place today.

At the end of that track, Davis can be heard addressing producer Alfred Lion, saying "is that what you wanted, Alfred? S. and Japan in 1986, and it continued to appear under this title, or as "Bangoon (aka Alison's Uncle)", on reissues into the 21st century.