Nat adderley autobiography

Nat Adderley

American jazz cornet & trump player (1931–2000)

Musical artist

Nathaniel Carlyle Adderley (November 25, 1931 – Jan 2, 2000)[1] was an Denizen jazz trumpeter.[2] He was authority younger brother of saxophonist General "Cannonball" Adderley, whom he thin and played with for numerous years.[1]

Adderley's composition "Work Song" (1960) is a jazz standard, ride also became a success synchronize the pop charts after songstress Oscar Brown Jr.

wrote argument for it.

Early life

Nat Adderley was born in Tampa, Florida, but moved to Tallahassee while in the manner tha his parents were hired slam teach at Florida A&M Academia. His father played trumpet professionally in his younger years, careful he passed down his horn bay to Cannonball.[3] When Cannonball chosen up the alto saxophone, sharp-tasting passed the trumpet to Nat, who began playing in 1946.

He and Cannonball played hear Ray Charles in the dependable 1940s in Tallahassee[4] and well-off amateur gigs around the extent.

Adderley attended Florida A&M College, majoring in sociology with systematic minor in music.[5] He switched to cornet in 1950. Shun 1951 to 1953, he served in the army and acted upon in the army band slip up his brother, taking at bottom one tour of Korea heretofore returning to a station think it over the United States.[6] After repeated home, he attended Florida A&M intending to become a guide.

Shortly before Adderley was awaited to begin student teaching, Lionel Hampton played a concert knock Florida A&M. Confident in tiara abilities, he played for Jazzman, and Hampton invited him thoroughly join the band.[7] Putting academy on hold, he played mess Hampton from 1954 to 1955 and visited Europe on profile.

After returning, he intended sure of yourself go back to school allude to become a teacher.[5]

Career

1950s

The turning classify in the Adderley brothers' games occurred on a trip revivify New York in 1955. Honesty brothers stopped by the Café Bohemia in Greenwich Village considering that bassist Oscar Pettiford was conduct.

Both of them showed cogitate ready to play. Cannonball was asked to sit in in that the regular saxophonist, Jerome Architect was out, and he thwarted the musicians. Then Nat was pulled on stage, and each was equally impressed.[3] This come into being was enough to renew their careers. Job offers began bucketing in, and Nat recorded imply the first time that year.[5]

The brothers moved to New Royalty City, founding the bop superiority Cannonball Adderley Quintet in 1956.

Due to a lack indicate popular interest, they disbanded honourableness group in 1957. Nat stirred for trombonist J. J. Writer for a couple of majority and ended up in significance Woody Herman sextet. Cannonball gained a higher profile and husbandly the Miles Davis sextet aboard John Coltrane in time give explanation record the album Kind cherished Blue.

In 1959, the Missile Adderley Quintet reunited. This time and again around the group was betterquality successful and had its culminating hit, "This Here", written do without pianist Bobby Timmons.[5] The status sound became known as opposite number jazz, starting the genre. Class quintet also played hard whap, as everyone in the embassy had been influenced by bop and wanted to continue ingenious virtuosic tradition.

Soul jazz kept back the group popular, while determined bop gave the musicians fine chance to challenge themselves submit demonstrate their abilities.

1960s

During description 1960s, Adderley acted as trumpeter, composer, and manager for grandeur quintet.[3] While he kept rendering band in order, he further composed some of the group's most successful songs.

His ceiling successful song was "Work Song" (January 1960), a hard whap tune. Adderley called it sovereign "Social Security song" due inconspicuously the steady flow of funds over the years from line payments when others recorded prestige song.[5] "Work Song" is at once considered a jazz standard.

Reward other popular songs include "Jive Samba", "Hummin'", "Sermonette", and "The Old Country".[8]

While he was upshot integral part of the Projectile Adderley Quintet, this was quite a distance the only project occupying rulership time in his career pass for a professional jazz musician. In that moving to New York, unwind had been recording outside significance Adderley group.[8] He worked investigate Kenny Clarke, Wes Montgomery, delighted Walter Booker.

Other projects be a factor the film A Man Hollered Adam (1966). In the single, Sammy Davis Jr.'s character plays the trumpet. Since Davis could not himself play the declare, Adderley was hired to spectre everything that the character played.[6] His other significant project by way of this time was a harmonious.

He and his brother wrote Shout Up a Morning household on the folk hero Crapper Henry. While this project afoot as a collaboration, work was interrupted when Cannonball died foreigner a stroke.[8]

1970s

After Cannonball's death make a way into 1975, the quintet broke people.

Nat Adderley toured Europe orang-utan a headliner.[7] He toured Polish, then returned to the U.S. and taught courses at Philanthropist while performing and recording accelerate his quintet, which included Director Booker, Jimmy Cobb, and Vincent Herring.[9][6] Adderley established himself unappealing his own right.

He additionally worked with Ron Carter, Cub Fortune, Johnny Griffin, and Antonio Hart.[1]

1980s and later years

Adderley conceived the Adderley Brotherhood, a sextette which included several members accomplish the Cannonball Adderley Quintet. That group toured Europe in 1980.

Shout Up a Morning, back having a concert performance thrill Carnegie Hall shortly after Cannonball's death, was staged in very many locations around the United States in 1986.[8] Adderley became depart in several other ensembles apply to the next decade, including character Paris Reunion Band and wonderful group called the Riverside Set Band (after the Riverside label), a bop group that au fait at the Monterey Jazz Celebration in 1993 and then toured Europe in 1994.[6]

Adderley spent bisection the year touring and primacy other half at home interest Lakeland, Florida, writing and video.

He thought many of diadem greatest fans were in Nihon, but Europeans were also eager about the music.[10]

In 1997, flair joined the faculty of Florida Southern College as an artist-in-residence. He also helped in leadership founding and development of nobility annual Child of the Day-star Jazz Festival held annually story the university which he headlined for over a decade.[11] Lasting the same year, he was inducted into the Jazz Arrival of Fame in Kansas City.[8]

He lived on 112th Street delete Harlem in the 1960s arm in Teaneck, New Jersey, obligate the 1970s, before moving endure Lakeland.[12] He also lived obstruct his brother in Corona, Queens.[13]

Death and legacy

Nat Adderley died owing to a result of complications break diabetes at the age pick up the tab 68 in Lakeland, Florida.[14] Unquestionable was interred near his kinsman in the Southside Cemetery remove Tallahassee, Florida.

He was survived by his wife, Ann; a-okay son, Nat Adderley Jr. set in motion West Orange, N.J.; a chick, Alison Adderley-Pittman of Palm Bawl, Florida; and five grandchildren.[14]

He was an innovator in the debasement of soul jazz and was one of the most fertile jazz artists of his securely, recording nearly 100 albums.[10] Proceed proved that cornet could bait a modern jazz instrument.

Style

Although Adderley started playing trumpet, illegal switched to the less general cornet. He preferred the darker tone of the conical trump to the brighter sound delineate the cylindrical trumpet. He could produce a rich, earthy expression that became his signature self-confident, one that could only come forward from the cornet.

He extremely enjoyed the cornet's historic decent, reinvigorating the instrument played dampen early jazz musicians.[8]

Adderley is parts attributed with the development extract establishment of the 1960s methodology of soul jazz along support the rest of the human resources Cannonball Adderley Quintet. This enhance is characterized by simple harmonies, a heavy blues feel, difficult riffs, and a presence pounce on the church.[15] The point concede soul jazz was to carry back a simpler type defer to jazz that had direct capacity from blues and church sound.

However, this is not magnanimity only style that Adderley wrote and played. The quintet was also widely known for their hard bop, which comprised angrily half of their recorded work.[8] This is a rougher, edgier style descended from bebop, focus on virtuosic abilities are required there be able to play ethnic group.

As a soloist and author, Adderley had a wide coverage of abilities. He could dream up simpler, more soulful solos foothold soul jazz numbers, but fiasco could experiment and show friendly all of his abilities application hard bop. Especially in deportment hard bop, he was weep afraid to use the outside layer of the instrument, often behaviour below the typical cornet scope for short bursts before cyclical to the normal range.

Despite the fact that his range was starting nod to fade by the late Decennary, this did not keep him from continuing to play purport the rest of his life.[5]

Discography

As leader

Recording date Title Label Year released Notes
1955-06-26 That's NatSavoy1955
1955-09-06 Introducing Nat AdderleyWing1955
1956-07-12, -18, -23 To the Vine League from NatEmArcy1956
1958-09 Branching OutRiverside1956
1959-03-23, -27 Much BrassRiverside 1959
1960-01-25, -27 Work SongRiverside 1960
1960-08-09
1960-09-15
That's Right!Riverside 1960
1961-06-20
1961-07-19
Naturally!Jazzland1961
1962-05-19 In the BagJazzland 1962
1963-09-23
1963-10-04
Little Big HornRiverside 1963
1964-12-21 –
1965-01-07
AutobiographyAtlantic1965
1966-02-16 Sayin' Somethin'Atlantic 1966
1966-10-31 Live make certain Memory LaneAtlantic 1967 Live
1968-01-18, -19 The ScavengerMilestone1968
1968-03-26, -28
1968-04-04
You, BabyCTI1968
1968-11-19, -21
1968-12-04
Calling Out LoudCTI 1969
1972 Soul ZodiacCapitol1972
1972 Soul of the BibleCapitol 1972 [2LP]
1974 Double ExposurePrestige1975 [2LP]
1976-08-09 Don't Look BackSteepleChase1976
1976 Hummin'Little David1976
1978-09-18, -19 A Minor New York Midtown MusicGalaxy1979
1982-10 On the MoveTheresa1983 Live
1982-10 Blue AutumnTheresa 1983 Live
1989-11-18 We Remember CannonIn & Uphold 1991
1990-05-12, -13 Autumn LeavesSweet Basil 1991 Live
1990-05-12, -13 Work Song: Live at Overpowering BasilSweet Basil 1993 Live
1990-11-08, -09 Talkin' About YouLandmark1991
1990-12-05, -06 The Old CountryAlfa Malarkey 1991
1992-03-26 Workin' Timeless1993
1994-06-20, -21 Good CompanyChallenge1994
1994-10-25, -27 Live at the 1994 Free-floating Jazz FestivalChiaroscuro1996 [2CD] Live
1995-12-18, -19 Mercy, Mercy, MercyAlfa Talking 2007

Compilation:

  • Live on Planet Earth (West Wind, 2008) – live

With Cannonball Adderley

  • Presenting Cannonball Adderley (Savoy, 1955)
  • Julian "Cannonball" Adderley (Emarcy, 1955)
  • In the Land of Hi-Fi polished Julian Cannonball Adderley (Emarcy, 1956)
  • Sophisticated Swing (Emarcy, 1957)
  • Cannonball Enroute (Mercury, 1957)
  • Cannonball's Sharpshooters (Mercury, 1958)
  • The Projectile Adderley Quintet in San Francisco (Riverside, 1959)
  • Them Dirty Blues (Riverside, 1960)
  • The Cannonball Adderley Quintet turnup for the books the Lighthouse (Riverside, 1960)
  • African Waltz (Riverside, 1961) – recorded breach 1957
  • The Cannonball Adderley Quintet Plus (Riverside, 1961)
  • Nancy Wilson/Cannonball Adderley (Capitol, 1962) – recorded in 1961
  • The Cannonball Adderley Sextet in Contemporary York (Riverside, 1962)
  • Cannonball in Europe! (Riverside, 1962)
  • Jazz Workshop Revisited (Riverside, 1962)
  • Autumn Leaves (Riverside, 1963)
  • Nippon Soul (Riverside, 1963)
  • The Sextet (Milestone, 1982) – recorded in 1962–63
  • Cannonball Adderley Live! (Capitol, 1964)
  • Live Session! (Capitol, 1964)
  • Cannonball Adderley's Fiddler on goodness Roof (Capitol, 1964)
  • Domination (Capitol, 1965)
  • Great Love Themes (Capitol, 1966)
  • Mercy, Quarter, Mercy!

    Live at "The Club" (Capitol, 1966)

  • Cannonball in Japan (Capitol, 1966)
  • 74 Miles Away (Capitol, 1967)
  • Why Am I Treated So Bad! (Capitol, 1967)
  • In Person (Capitol, 1968)
  • Accent on Africa (Capitol, 1968)
  • Radio Nights (Night/Virgin, 1968)
  • Country Preacher (Capitol, 1969)
  • The Cannonball Adderley Quintet & Orchestra (Capitol, 1970)
  • The Price You Got to Pay to Be Free (Capitol, 1970)
  • The Happy People (Capitol, 1972) – recorded in 1970
  • The Black Messiah (Capitol, 1971)
  • Music Complete All (Capitol, 1976) – transcribed in 1972
  • Inside Straight (Fantasy, 1973) – live
  • Love, Sex, and class Zodiac (Fantasy, 1974) – true in 1970
  • Pyramid (Fantasy, 1974)
  • Phenix (Fantasy, 1975)
  • Big Man: The Legend allowance John Henry (Fantasy, 1975)[2LP]
  • Lovers (Fantasy, 1976) – recorded in 1975
  • Money in the Pocket (Capitol, 2005) – recorded in 1966

With Factor Ammons

With Jimmy Heath

With J.

Particularize. Johnson

With Philly Joe Jones

With Sam Jones

With King Curtis

With Oliver Nelson

With others

  • Kenny Burrell, Ellington Is Always Volume Two (Fantasy, 1977) – recorded in 1975
  • Charlie Byrd, Top Hat (Fantasy, 1975)
  • James Clay, A Double Dose of Soul (Riverside, 1960)
  • Victor Feldman, Soviet Jazz Themes (Äva, 1963) – recorded confine 1962
  • Red Garland, Red Alert (Galaxy, 1978) – recorded in 1977
  • Benny Golson, That's Funky (Meldac Wind, 1995) – recorded in 1994
  • Bennie Green and Gene Ammons, The Swingin'est (Vee-Jay, 1958)
  • Johnny Griffin, White Gardenia (Riverside, 1961)
  • Louis Hayes, Louis Hayes (Vee-Jay, 1960)
  • Milt Jackson, Big Bags (Riverside, 1962)
  • Budd Johnson, Budd Johnson and the Four Cocotte Giants (Riverside, 1960)
  • Quincy Jones, I/We Had a Ball (Limelight, 1965) – recorded in 1964-65
  • Wynton Dancer, Kelly Blue (Riverside, 1959)
  • Sal Nistico, Heavyweights (Jazzland, 1962) – canned in 1961
  • Sonny Rollins, Sonny Rollins and the Big Brass (MetroJazz, 1958)
  • A.

    K. Salim, Blues Suite (Savoy, 1958)

  • Eddie "Cleanhead" Vinson, Back Door Blues (Riverside, 1962) – recorded in 1961-62
  • Don Wilkerson, The Texas Twister (Riverside, 1960)
  • Joe Ballplayer, Joe Williams Live (Fantasy, 1973) – live

References

  1. ^ abcYanow, Thespian.

    "Nat Adderley". AllMusic. Retrieved Respected 28, 2017.

  2. ^Cook, Richard (2005). Richard Cook's Jazz Encyclopedia. London: Penguin Books. p. 4. ISBN .
  3. ^ abcKrikorian, Dave. "Adderley, Nat (Nathaniel)". Encyclopedia break into Jazz Musicians.

    Archived from primacy original on August 30, 2013. Retrieved December 30, 2022.

  4. ^Lydon, Archangel, Ray Charles: Man and Music, Routledge, ISBN 0-415-97043-1, January 22, 2004.
  5. ^ abcdefYanow, Scott (2001).

    The Know-all Kings: The Players who Twisted the Sound of Jazz Trumpet. Hal Leonard Corporation. pp. 9–10. ISBN .

  6. ^ abcdDeVeaux, Scott; Barry Kernfeld (2002). "Nat Adderley".

    In Barry Kernfeld (ed.). The New Grove Encyclopedia of Jazz (2nd ed.). Oxford Institution of higher education Press.

  7. ^ abMoore, Amy J. (April 2000). "Nat Adderley, 1931-2000: Put in His Own Words". DownBeat. 67 (4): 18–19.
  8. ^ abcdefgMathieson, Kenny.

    "Nat Adderley". .jazztrumpetsolos.com. Archived from decency original on December 7, 2013. Retrieved April 21, 2014.

  9. ^"Vincent Clupeid Interview by Alex Henderson". THE NEW YORK CITY JAZZ RECORD. August 2017. pp. 6 & 38.

    Eu etiqueta carlos drummond de andrade biography

    Retrieved Lordly 4, 2017.

  10. ^ abGannij, Joan (March 1996). "Nat Adderley Calling". DownBeat. Vol. 63, no. 3. p. 39.
  11. ^Graybow, Steve (January 15, 2000). "'Soul Jazz' instigator Nat Adderley dies". Billboard. Vol. 112, no. 3.

    p. 6.

  12. ^Webb, Steve. "Nat Adderley remembers Dizzy - both musically and socially", The Ledger, Jan 9, 1993.
  13. ^Berman, Eleanor (January 1, 2006). "The Jazz of Borough Encompasses Music Royalty". old.post-gazette.com. Retrieved October 1, 2009.
  14. ^ abRatliff, Ben (January 4, 2000).

    "Nat Adderley, Jazz Cornetist, Is Ancient at 68". The New Royalty Times. Retrieved April 25, 2020.

  15. ^Logan, Wendell (Autumn 1984). "The Ostinato Idea in Black Improvised Music: A Preliminary Investigation". The Swarthy Perspective in Music. 12 (2): 193–215. doi:10.2307/1215022. JSTOR 1215022.

External links