Nat Adderley
Albums
![Work Song [SACD]](/cache/JHS/g5/130x130_g56952svten.jpg)
This two-LP set combines together two of cornetist Nat Adderley's finest albums: Work Song and That's Right. Both dates have since been reissued separately on CD. The former set [more]
Appearances
![Fiddler on the Roof [Bonus Tracks]](/cache/JHS/f8/130x130_f87140pvu4v.jpg)
It is a bit strange that none of the eight songs performed on this LP found their way into Adderley's permanent repertoire, for the altoist is quite inspired [more]
Cannonball Adderley is in excellent form on this live date recorded on August 5, 1962, at the International Jazz Festival in Comblain-La-Tour, Belgium. The alto [more]
![Domination [Bonus Tracks]](/cache/JHS/g9/130x130_g96849p4mxj.jpg)
One of the lesser sessions from Cannonball Adderley's days with Capitol, Domination features arrangements by Oliver Nelson and William Fischer. Recorded in April of [more]
Although released in the usually consistent Columbia Jazz Masterpieces series, this recording is a mere sampler of trombonist J.J. Johnson's 1957-60 recordings. The nine selections [more]
The music is predictable but pleasing on this consistent CD, recorded at the 1960 Newport Jazz Festival. Cannonball Adderley's Quintet (with trumpeter Nat [more]
Thanks to its ownership of some of Cannonball Adderley's Riverside recordings, Capitol was able to stretch the definition of Best of Cannonball [more]
When 1965-1972 was first released a decade ago, all of the music was being put out for the first time. The 15 selections are from 10 different [more]
Cannonball Adderley's most popular album, Mercy, Mercy, Mercy wasn't actually recorded "Live at 'The Club'," as its subtitle says. The hoax was [more]
Recorded in early 1960, Them Dirty Blues contains two classic jazz compositions: Nat Adderley's "Work Song" and Bobby Timmons' "Dat Dere," the sequel to "This Here." This was [more]
In 1963 Cannonball Adderley signed with the Capitol label, retaining the rights to some master tapes recorded earlier while he was with Riverside. This CD (a straight [more]
Biography
- Born Nov 25th 1931 in Tampa, FL
- Died Jan 2nd 2000 in Lakeland, FL
- Styles
- Soul Jazz
- Instrument(s)
Nat Adderley's cornet (which in its early days was strongly influenced by Miles Davis) was always a complementary voice to his brother Cannonball in their popular quintet. His career ran parallel to his older brother for quite some time. Nat took up trumpet in 1946, switched to cornet in 1950, and spent time in the military, playing in an Army band during 1951-1953. After a period with Lionel Hampton (1954-1955), Nat made his recording debut in 1955, joined Cannonball's unsuccessful quintet of 1956-1957, and then spent periods with the groups of J.J. Johnson and Woody Herman before hooking up with Cannonball again in October 1959. This time the group became a major success and Nat remained in the quintet until Cannonball's death in 1975, contributing such originals as "Work Song," "Jive Samba," and "The Old Country" along with many exciting hard bop solos. Nat Adderley, who was at the peak of his powers in the early to mid-'60s and became adept at playing solos that dipped into the subtone register of his horn, led his own quintets after Cannonball's death; his most notable sidemen were altoists Sonny Fortune (in the early '80s) and Vincent Herring. Although his own playing declined somewhat -- Adderley's chops no longer had the endurance of his earlier days -- Nat continued recording worthwhile sessions in the years prior to his death on January 2, 2000. Many but not all of his recordings through the years are currently available (for such labels as Savoy, EmArcy, Riverside, Jazzland, Atlantic, Milestone, A&M, Capitol, Prestige, SteepleChase, Galaxy, Theresa, In & Out, Landmark, Evidence, Enja, Timeless, Jazz Challenge, and Chiaroscuro). ~ Scott Yanow, All Music Guide
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