Julian ‘Cannonball’ Adderley wasn't the first jazz player to be confronted with the realisation that success can be a double edge sword. For a whole generation, hearing Cannonball’s spine chilling blueswail for the very first time was equivalent to a previous generation's initial exposure to Bird – once heard, never forgotten. From the time he arrived at Riverside the label attempted to pressurise him into projecting himself as a soul man so as to grab the attention of a new dollarwaving legion of young music fans. Said Cannonball: “They kept on promoting us that way and I kept fighting it to the extent that it became a game.” Part of Cannonball's winning strategy took the form of three collaborations with his Miles Davis Sextet cohort, pianist Bill Evans of which Know What I Mean? was the final chapter. And what durable music they made together – in this instance with the MJQ's Percy Heath and Connie Kay in attendance. Part of Cannonball's enduring success, was that together with brother Nat, they underpinned their band with a succession of innovative pianists. For the ‘live’ Stuttgart date it is Joe Zawinul who drives the quintet through such diverse material as ‘Somewhere’, ‘Why Am I Treated So Bad’, ‘Blue And Boogie’ plus his own ‘Rumpelstiltskin’, ‘The Painted Desert’ and ‘Walk Tall’.