Their bandmates, picking up on the intimate vibe and calm mood here – as well as on the spry, head-over-heels spirit of “Love for Sale” – join in on the conversation with sharp economy and float-on-air roundedness. 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. For reasons that extend far beyond the outstanding playing and flawless repertoire, Somethin’ Else is without question a record you’ll always want to watch and hear come together.

Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition.Cannonball Adderley’s Somethin’ Else, one of the few albums featuring Davis as a sideman, is calm and uncluttered and direct, each line and phrase contributing something crucial to the whole.

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.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. To hear a master jazz conversationalist at peak, check out the crisp and perfectly placed chords pianist Hank Jones provides for Adderley. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic photos to the gorgeous finishes.

Also on the session is trumpeter Miles Davis in one of his handful of recording dates for Blue Note. As brilliant as each note is, those same notes seem understated, floating like smoke, sustained just long enough for rhythmic perfection. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer.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.

Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would right in front of you on a stage. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. Plain and simple, Adderley’s jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements – not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards.With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today. The premium packaging and beautiful presentation of the UD1S Somethin’ Else pressing befit its extremely select status. On the other hand, the surface is so sensible, I already have micro thin hairline cracks on the spines of the first inner slip case thingies. It’s the sound of a circuit being created in the moment, sprouting arms and branches and new directions as it travels around the bandstand. Adderley’s huge alto sound is normally full of moxie, exuberance and celebration; there’s some of that here, but along the way he also follows the hints that Davis left, sketching passages of profound wistfulness and longing.