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Know What I Mean [Import]

Bill Evans, Cannonball AdderleyAudio CD
4.8 out of 5 stars  See all reviews (26 customer reviews)


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Product Details

  • Audio CD
  • Number of Discs: 1
  • Format: Import
  • Label: Riverside
  • ASIN: B00007KL2C
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (26 customer reviews)
  • Amazon Best Sellers Rank: #2,063,417 in Music (See Top 100 in Music)

1. Waltz for Debby
2. Goodbye
3. Who Cares? [Take 5]
4. Who Cares? [Take 4]
5. Venice
6. Toy
7. Elsa
8. Nancy (With the Laughing Face)
9. Know What I Mean? [Re-Take 7]
10. Know What I Mean? [Take 12][*]

Editorial Reviews

Heritage of Jazz Series. Japanese Limited Edition in an LP-STYLE Slipcase Digitally Remastered featuring New Artwork. Limited to 3000 Copies.

Customer Reviews

Most Helpful Customer Reviews
39 of 40 people found the following review helpful
5.0 out of 5 stars Colossal Collaboration. March 29, 2003
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.
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22 of 22 people found the following review helpful
By A Customer
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!!
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16 of 16 people found the following review helpful
5.0 out of 5 stars No way this project could fail... May 10, 2003
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.
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10 of 10 people found the following review helpful
5.0 out of 5 stars Stunning, swinging and beautiful February 6, 2002
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.
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Most Recent Customer Reviews
5.0 out of 5 stars Five Stars
Cannonball and Bill Evans make an extension of Kind of Blue!!
Published 2 months ago by joe pfeiffer
5.0 out of 5 stars A Dream Combo That Doesn't Disappoint
Consensus alto genius, Cannonball Adderley, jazz piano virtuoso, Bill Evans, steadied by MJQ alumni virtuosi, Percy Heath on bass and Connie Kay on drums. Read more
Published 6 months ago by M. Anders
5.0 out of 5 stars one of the
one of the best jazz CDs every recorded.

so, see, adderley taught high school band, and then went to NY and played with miles, he never got home

must have... Read more
Published 7 months ago by musicgalaxyman
5.0 out of 5 stars One of three collaborations between Cannonball and Bill Evans
My ability to write falls way short of describing the beauty of this album. Please give the sound samples on this page a listen because they will convey the essence of this album... Read more
Published 12 months ago by Mike Tarrani
5.0 out of 5 stars Great cd...Adderley & Evans are genius!!!
Cannonball Adderley and Bill Evans are really true legends of jazz, true revolutionaries of improvisation, great connoisseurs of their respective instruments. Read more
Published 15 months ago by Manuel Carranza C
5.0 out of 5 stars Yup!
Cannonball....what more can you say? Burnin!! Just get it, you won't regret it! Seven more words required! Now three more! Woo-hoo!
Published 20 months ago by Joshua D. Shapiro
4.0 out of 5 stars Readily Enjoyable
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,... Read more
Published on July 4, 2009 by Karl W. Nehring
4.0 out of 5 stars classic performance
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". Read more
Published on April 21, 2009 by Edd Anderson
4.0 out of 5 stars Cannonball Cools It Down
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. Read more
Published on September 21, 2008 by G B
5.0 out of 5 stars Very nice jazz album - it swings!
I've been listening to Jazz heavily for years now, but I just checked out "Know What I Mean?" by Cannonball recently. Read more
Published on February 6, 2008 by Saxman
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