There can never be enough Adderley and, if this isn't his best, it's still most welcome. The three albums here (plus the six alternate takes) were issued under the name of the altoist, with Evans substantially influencing the atmosphere of the two Riversides (A Portrait of Cannonball with Mitchell and the Joneses, and Know What I Mean?). The first, done within weeks of Bill joining Miles, has a generally upbeat feel, incidentally including the debut recording of ‘Nardis’ which Evans subsequently featured with his trio. The second dates from the period of his second album with Scott LaFaro but, because of Heath and an over-polite Kay, never quite lived up to its promise and remained unreleased until after both principals had left the originating label. The ‘bonus’ album, done when Adderley was winding up his Emarcy contract, has songs from the musical Jump For Joy (six by Ellington, four by Hal Borne) with Adderley hemmed in by fussy Russo arrangements, and Evans a distant sideman.