That's Right! Nat Adderley and the Big Bax Detachment (1960). Jimmy Heath, Yusef Lateef, Jim Hall..

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Adderley, Nat(haniel, Sr.)

(b Tampa, FL, 25 Nov 1931; d Lakeland, FL, 2 Jan 2000). American cornetist, chairman and composer, fellow-clansman of Cannonball Adderley. His birthdate has appeared in all known regard sources as 25 November, but the Metre interviewer asserts that it is 21 November, and Adderley replied “right”; he failed to atone for a later enquiry about this. He took up trumpet as a kid after Community War II and began his work playing with specific bands in Florida; both he and his fellow-clansman received unconstrained tutoring in jazz from Jaki Byard, then stationed at a handy army set. After changing to cornet (1950, or perhaps earlier, by another account) he played jazz in an army combo unite under his brother's instructing (1951–3). His first critical league was with Lionel Hampton (July 1954 – May 1955), and in 1956 he joined the prestigious flat set led by his fellow-clansman. While Cannonball played with Miles Davis (1957–9) Nat worked with J. J. Johnson and Woody Herman; he then joined his brother’s second set and remained with it until the latter’s obliteration in 1975. During this era he appeared in tube shows and films with Cannonball, and also ghosted the trumpet playing for the actor Sammy Davis, Jr., in the video A Man Called Adam (1966). In 1976 he toured Europe, both as a chairman and a associate of larger ensembles, and the following year he performed with Johnson’s quintet in Japan. He recorded over with his own quintet and also led seminars at Harvard, while continuing to spell nationally and internationally for pitilessly six months of each year. In 1980 he toured Europe as the chairman of the Adderley Clique, a sextet with Jerome Richardson, Charles McPherson, and three former members of the brothers’ upbeat detachment: Hal Galper, Walter Booker, and Roy McCurdy. Booker and Jimmy Cobb continued as members of Adderley’s quintet for many years; they were joined by the alto saxophonists Sonny Assets, Vincent Herring (current 1980s–1994), and Antonio Hart (from mid — 1994), and the pianist Rob Bargad (1990s). Adderley also performed with the Paris Reunion Combo Unite in the mid — 1980s and recorded in two all-woman bop groups under the name of the Riverside Reunion Combo Unite, the first formed at the Monterey Jazz Fete in 1993 and the second organized for performances in Europe in 1994. He continued to toy with into the current 1990s until complications from diabetes led to a leg amputation and effectively ended his work.

One of the few of the time soloists on cornet, Adderley piece by piece emerged from the obscurity of his more noted fellow-clansman. His look successfully combined lyricism with the directness and immediacy of unquestionable bop. He was a skilled composer whose employment has been published by Hansen; his pieces file Employment Performance and Jive Samba. His melodious about the people woman John Henry, Roar up a Morning, which he began in collaboration with his fellow-clansman, was performed on Broadway in 1986. His son, the pianist and keyboard punter Nat Adderley, Jr. (b Quincy, FL, 22 May 1955), began performing and recording with Cannonball Adderley as a kid, and has worked as a in and accompanist for such anima singers as Luther Vandross and Aretha Franklin.

Spoken curriculum vitae research in NjR; video spoken curriculum vitae research in NCH (HCJA) and NN-Sc (LAJOHP).


N. Adderley: “Cannon and I,” Metronome, lxxvii/12 (1960), 18

B. Gardner: “The Biggest Little Fellow-Clansman: an Understanding of Nat Adderley,” DB, xxxiii/3 (1966), 22

L. Lyons: “Nat Adderley: Grade out on his Own,” DB, xliii/19 (1976), 14 [incl. discography]

L. Tomkins: “Nat Adderley: Formation and the Clique,” CI, xix/3 (1980), 22

J. Carey: “Nat Adderley: On the Turn,” JT (1983), Sept, 7

O. Keepnews: The Landscape from Within: Jazz Writings, 1948–1987 (New York, and Oxford, England, 1988), 206

S. Woolley: “Nat Adderley: a Fellow-Clansman in Awe,” JJI, xli/5 (1988), 8

F. Postif: Les grandes interviews de Jazz hot (Paris, 1989)

J. Kaliss: “Nat Keeps Shooting Sans Cannonball,” San Francisco Account Datebook (5 Aug 1990)

A. Lewis and L. Lewis: “Nat Adderley: Vet,” Metre, xviii/3 (1992), 5

J. Gannij: “Tradin’ Fours: Nat Adderley Work,” DB, lxiii/3 (1996), 39

F. Postif: Jazz Me Blues: interviews et portraits de musiciens de jazz et de blues (Paris, 1998), 157

Obliteration Notice, B. Ratliff, New York Times (4 Jan 2000)

Obliteration Notice, [A. Shipton], The Times (5 Jan 2000)

Obliteration Notice, S. Woolley, JJI, liii/3 (2000), 12

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