by Richard S. GinellAs Cannonball Adderley moved with the times in the late '60s, so did brother Nat on his own. While Adderley generally buys into Creed Taylor's A&M mixture of top-flight jazz talent, pop tunes and originals, and orchestrations packaged in bite-sized tracks, this album has its own pleasingly veiled yet soulful sound quite apart from its neighbors in the A&M\u002FCTI series. Give credit to Adderley's successful use of a Varitone electronic attachment on his cornet, giving the horn an electric blue sound which he handles with marvelous rhythmic dexterity. Add Joe Zawinul's lively, funky electric piano from Cannonball's quintet, as well as the brooding, genuinely classically-inspired orchestrations of Bill Fischer that only use violas, cellos and flutes. While not always technically perfect, Adderley's solos have soul and substance; his brief, catchy bop licks on Halftime are some of the best he ever played and on Zawinul's Early Minor, he evokes a sense of loneliness that Miles would have admired. A lovely, intensely musical album, well worth seeking out.