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Know What I Mean? [Original recording remastered, Extra tracks]

Bill Evans, Cannonball Adderley Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
Price: 21.15
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Product details

  • Audio CD (27 July 1998)
  • Number of Discs: 1
  • Format: Original recording remastered, Extra tracks
  • Label: Riverside / OJC
  • ASIN: B0000251I3
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 174,200 in Music (See Top 100 in Music)

1. Waltz For Debby
2. Goodbye
3. Who Cares? (take 5)
4. Venice
5. Toy
6. Elsa
7. Nancy (With The Laughing Face)
8. Know What I Mean? (Re-take 7)
9. Know What I Mean? (take 12)

Product Description

Amazon.co.uk

Alto saxophonist Cannonball Adderley and pianist Bill Evans were bandleaders by the time they teamed up in 1961 for the moody yet lyrical Know What I Mean. Though it's remastered with state-of-the-art digital technology, Riverside has kept the original art work and liner notes, maintaining the flavour of this classic jazz LP. Adderley’s robust, bluesy tone and buoyant phrasing make for an interesting contrast to Evans’s rainy-day introspection. Coupled with the light touch of drummer Connie Kay and gentle probing of bassist Percy Heath, the music projects a sophisticated and relaxed mood. On the sensitive ballads, such as "Goodbye" and "Elsa", Adderley reveals his after-hours side, revelling in the fullness of his rich sound. --Wally Shoup

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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Most Helpful Customer Reviews
5.0 out of 5 stars Five Stars 26 July 2014
Format:Vinyl|Verified Purchase
Genius. What more needs to be said.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.8 out of 5 stars  26 reviews
39 of 40 people found the following review helpful
5.0 out of 5 stars Colossal Collaboration. 29 Mar 2003
By George H. Soule - Published on Amazon.com
Format:Audio CD
Despite being overshadowed by the musical reputation of John Coltrane, Cannonball never needs apologies or justification, and this is a superb example of his playing. On this recording, Adderly's lyrical sound and masterful technique are at their best. His music is lightly lyrical and it swings hard, but it always seems to have (dare I say it?) joy at its base. This fine jazz album was created by two musicians who participated with Coltrane in the sessions for Miles Davis' famous "Kind of Blue" album. Cannonball Adderly is the alto saxophone player on that album and Bill Evans is the pianist. Reunited here, it's obvious that they respect and enjoy one another's music, and the album--recorded over a three month period in 1961--reflects their mutual comfort. The songs include Evans' "Waltz for Debbie," now a 3/4 time jazz standard, and the title track "Know What I Mean?" Evans is joined by half of the Modern Jazz Quartet--Percy Heath on bass and the always-appropriate Connie Kay on drums to complete the rhythm trio. They provide solid support for Cannonball throughout the album. As I noted, Cannonball is ebullient throughout, and Evans' superb solos and his prescient interplay with Adderly make this album a must have jazz recording.
The leisurely solos on Gordon Jenkins' "Goodbye" and Earl Zindars' "Elsa" and Silver's "Nancy" exemplify Evans and Adderly at their best as balladeers. Adderly's treatment of Gershwin's "Who Cares?" is infectiously bright, lightly lyrical, and Kay and Heath forcefully drive the rhythm. Evans' solos on the two takes typify his harmonic inventiveness, no small matter in any musical universe. The quartet's rendition of John Lewis' "Venice" from the MJQ's "No Sun in Venice" features Heath's stately bass with simple, unassuming statements by Adderly and Evans. Clifford Jordan's "Toy" is a rollicking tune that showcases Cannonball's improvisional virtuosity--long fluid lines, effortless runs to crisp twists and turns. Evans proves once again that he can cook. The two takes of "Know What I Mean?" are further explorations in Bill Evans' modal harmonic world with some truly inventive rhythmic variations courtesy of Mr. Kay. Must hear music.
22 of 22 people found the following review helpful
5.0 out of 5 stars This record should be up there on the all time great lists 22 Oct 1999
By A Customer - Published on Amazon.com
Format:Audio CD
This collaboration between two highly intelligent and creative musicians should be in every jazz CD collection, and should be ranked up there with the 'Ah Ums' and 'Blue Trains'. Evans and Adderley clearly loved each other's playing and it shows in every note. I wish they had recorded more together. Both were at the peak of their powers in 1961 and recent graduates of the great Miles Davis Sextet of 1958-9 which some reckon the best jazz combo ever. I never get bored of this record. Evans is often accused of lacking a hard swing and even of not playing jazz at all. This record is the most eloquent counter to that argument there could be - Evans swings every bit as hard as the swinging and funky Adderley, playing great jazz before fashion and the desire to make a buck pushed the great altoist off in a different direction. BUY IT TODAY!!
16 of 16 people found the following review helpful
5.0 out of 5 stars No way this project could fail... 11 May 2003
By William E. Adams - Published on Amazon.com
Format:Audio CD
It's 1961, and for recording sessions in January, February and March producer Orrin Keepnews has snagged Cannonball, one of the five best saxophone players of the era; Bill Evans, one of the five best pianists, and the team of Connie Kay and Percy Heath, fully half of one of the five best jazz ensembles, the Modern Jazz Quartet. So the bass and drums are in superior hands, and the lead instruments are in superstar hands. A decision is made to create a record for the Riverside label, at the time a decent-size player in the jazz business along with Prestige and Blue Note and Verve and the majors. Further decisions are to record two Bill Evans compositions, a tune by the Gershwins, one by John Lewis, pianist/leader of the MJQ, one by jazzman Clifford Jordan, and one by Gordon Jenkins, one of the most popular orchestra leaders for recordings in that time frame. The parties agreed that the project would be mostly mellow, but with a swinging foundation. The whole recipe worked perfectly, and now, 40 years later, we have this current release with two bonus tracks, alternate takes of two of the eight original selections. They turn out to be almost as good as the ones first chosen for the vinyl LP. From the first notes by Evans of his own tune "Waltz for Debbie" to the closing notes on the alternate take of "Know What I Mean?" this disc is a delight. If you like Adderley or Evans at all, grab this document attesting to how beautifully they worked together once. This one is somewhat hard to find, but worth the searching. Beautiful music that will never go out of style and is far more than background sound deserves to be in your home. You don't have to be a jazz fan to like it. Somehow this project has drawn less attention from critics and fans than it deserves. I love it.
10 of 10 people found the following review helpful
5.0 out of 5 stars Stunning, swinging and beautiful 7 Feb 2002
By JayMusic - Published on Amazon.com
Format:Audio CD
This relaxing and thoroughly unforgettable album brings together the high-spirited Cannonball Adderley and pianist Bill Evans, who had both worked with Miles Davis just two years earlier, along with the Modern Jazz Quartet rhythm section of Percy Heath and Connie Kay. The juxtaposition of these two jazz giants and their contrasting styles, seems to have brought out some of the best playing from both of them. Evans is heavily featured in intros and outros, as well as with his reprertoire staples "Elsa" and his well-known "Waltz For Debby". His playing here is enthralling, exuberant and melodic, being spurred on by Cannon's warmth, and his bouncy improvised melodies on the more up tunes, aided by and the cozy charm and accompaniment of Heath and Kay.
This is indeed one of those rarest of sessions -- every track is a gem, and almost all of the solos are without a doubt inspired. For professional musicians, these would be ideal for study transcriptions in the improvisational art of jazz. Cannonball's sweet treatments of Gordon Jenkins' poignant "Goodbye" and Frank Sinatra's gorgeous "Nancy" display a ballad artistry not always emphasized in contemporary writings about the artist; often invoking a Benny Carter approach. Bill Evans, (sharing almost equal billing with Cannon on the album cover) was perhaps at his first creative peak here in 1961, and is far more than a sideman: he makes every note count, and consice statements flow from his sensual, yet never maudlin piano. His playing on Earl Zindars' beautiful waltz "Elsa" rivals the many other versions he did over the years, as he shapes and carefully hones every phrase. That "inner conviction" he often spoke about in interviews, is most apparent here, and again on "Nancy." It would only be three months after this album was completed that Evans' classic trio with Scott LaFaro and Paul Motian would be recording "live" at the Village Vanguard -- recordings which became his most popular and critically acclaimed albums ever.
Make no mistake, these guys swing too on this session, and bright and airy it is --notably on the often neglected "Toy" by Clifford Jordan, (listen to Cannonball's "laughing" sax motifs and the piano interplay too) and the rousing Gershwin classic "Who Cares". (The CD gives us a previously unreleased version which is just as much fun.) Connie Kay's time is steady and the feeling is light, yet relentless in its refined groove; his long MJQ association with Percy Heath bearing much fruit and spurring on the soloists.
It is not often that a jazz album invokes such intelligent romanticism, without being corny in the least, yet peppered with such joyous swinging. "Know What I Mean" creates a definable and exquisite mood thoughout, and I wouldn't doubt that many romantic evenings were spent with this classic LP on the turntable in the early sixties. Many Julian Adderly fans have said this is some of their favorite work by him, and the same could be said of Evans' superb performance as well.
The sound of the recording is also quite remarkable for the time, which contributes to the overall freshness of these sessions. That these players were all at the top of their form, and outwardly projecting such joy and innate musicality only adds luster to their stature as legends, and it all makes this album one that will keep playing in your head for a long, long time.
8 of 8 people found the following review helpful
5.0 out of 5 stars A timeless classic 10 Mar 2000
By William Adams - Published on Amazon.com
Format:Audio CD
This was the first jazz album I ever bought (remaindered, sometime in the mid-60s) and after hundreds of others, it remains one of the five or six finest in my collection. Both Adderley and Evans, talented as they were, would succumb to 60s self-indulgence in later years, but in 1961 they were at the same peak you can hear in their album with Miles Davis, "Kind of Blue," which is on everyone's all-time top-ten list. And I prefer this to even "Kind of Blue" -- there's a bright crisp happiness that pervades it, even in the elegiacal "Waltz for Debbie", that has brought me back to it again and again for over thirty years.
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