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When alto saxophonist Cannonball Adderley culled together this quartet, he grabbed three champions from seemingly disparate schools to complement his flinty solos: Miles Davis, the king of cool; Art Blakey, the thundering force of hard bop; Hank Jones, a veteran of swing; and Sam Jones, a versatile bassist adaptable to nearly any setting. The results are one of Blue Note’s most beloved albums. The open-ended beauty of “Autumn Leaves,” which features Davis beautifully stating the melody on muted trumpet, sounds like it could easily be an outtake from Kind of Blue (which it isn’t). The midtempo title track provides the centerpiece of this classic as Adderley echoes Miles’s swaggering melody before both unravel wonderful solos.

Cannonball Adderley…Sax, Miles Davis…Trumpet, Sam Jones…Double Bass, Hank Jones…Piano…Art Blakey…Drums. From the 1958 album Somethin’ Else.

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The falling leaves drift by the window
The autumn leaves of red and gold….
I see your lips, the summer kisses
The sunburned hands, I used to hold
Since you went away, the days grow long
And soon I’ll hear ol’ winter’s song.
But I miss you most of all my darling,
When autumn leaves start to fall.

Since you went away, the days grow long
And soon I’ll hear ol’ winter’s song.
But I miss you most of all my darling,
When autumn leaves start to fall.

“Autumn Leaves” is a much-recorded popular song. Originally a 1945 French song “Les feuilles mortes” (literally “The Dead Leaves”) with music by Joseph Kosma and lyrics by poet Jacques Prévert, the American songwriter Johnny Mercer wrote English lyrics in 1947. Jo Stafford was among the first to perform this version. Autumn Leaves became a pop standard and a jazz standard in both languages, both as an instrumental and with a singer. Yves Montand introduced “Les feuilles mortes” in 1946 for the film Les Portes de la Nuit.
French singer Edith Piaf rendered both French and English versions of this song on the radio program “The Big Show,” December 24, 1950. [1]
The film Autumn Leaves (1956) starring Joan Crawford featured the song, as sung by Nat King Cole over the title sequence. The French songwriter Serge Gainsbourg paid tribute to this song in his own song “La chanson de Prévert”.[2]
In 1993 British electronic hiphop group ‘Coldcut’ recorded their own version of the song, placing emphasis on the string and drum beat parts.
It is the corps song of the Bluecoats Drum and Bugle Corps.

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