Nat Adderley Sextet • In The Bag

 

Biography by Scott Yanow

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).

https://www.allmusic.com/artist/nat-adderley-mn0000377060#biography

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Biografía de Scott Yanow

La corneta de Nat Adderley (que en sus inicios estuvo fuertemente influenciado por Miles Davis) fue siempre una voz complementaria a la de su hermano Cannonball en su popular quinteto. Su carrera fue paralela a la de su hermano mayor durante bastante tiempo. Nat empezó a tocar la trompeta en 1946, cambió a la corneta en 1950 y pasó un tiempo en el ejército, tocando en una banda del ejército durante 1951-1953. Tras un periodo con Lionel Hampton (1954-1955), Nat hizo su debut discográfico en 1955, se unió al fracasado quinteto de Cannonball de 1956-1957, y luego pasó periodos con los grupos de J.J. Johnson y Woody Herman antes de volver a unirse a Cannonball en octubre de 1959. Esta vez el grupo se convirtió en un gran éxito y Nat permaneció en el quinteto hasta la muerte de Cannonball en 1975, contribuyendo con originales como "Work Song", "Jive Samba" y "The Old Country" junto con muchos emocionantes solos de hard bop. Nat Adderley, que estaba en la cima de sus facultades a principios y mediados de los 60 y se convirtió en un experto en solos que se sumergían en el registro de subtonos de su trompa, dirigió sus propios quintetos tras la muerte de Cannonball; sus acompañantes más notables fueron los contraltos Sonny Fortune (a principios de los 80) y Vincent Herring. Aunque su forma de tocar decayó un poco (las habilidades de Adderley ya no tenían la resistencia de sus primeros días), Nat siguió grabando sesiones que merecían la pena en los años anteriores a su muerte, el 2 de enero de 2000. Muchas de sus grabaciones, aunque no todas, están disponibles actualmente (para sellos como Savoy, EmArcy, Riverside, Jazzland, Atlantic, Milestone, A&M, Capitol, Prestige, SteepleChase, Galaxy, Theresa, In & Out, Landmark, Evidence, Enja, Timeless, Jazz Challenge y Chiaroscuro).
https://www.allmusic.com/artist/nat-adderley-mn0000377060#biography

VA • Best of Soul Jazz

 

Cannonball Adderley-Kenny Clarke • Bohemia After Dark

 

Review
by Mark Keresman
Along with Max Roach, Kenny Clarke was one of the definitive drummers of jazz’s original bebop movement. By the time of the Bohemia After Dark sessions (in June 1955), Clarke was firmly established as a bandleader. He probably didn’t know it at the time, but he also made jazz history here, as Bohemia marks the recording debut of the soulful Adderley brothers -- alto sax heavyweight Cannonball and ace cornetist/composer Nat. The brothers also contributed several tunes as well. This session is earnestly swinging bop with very good early career work from pianist Horace Silver and bassist Paul Chambers.
https://www.allmusic.com/album/bohemia-after-dark-mw0000099767

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Reseña
por Mark Keresman
Junto con Max Roach, Kenny Clarke fue uno de los bateristas definitivos del movimiento bebop original del jazz. En el momento de las sesiones de Bohemia After Dark (en junio de 1955), Clarke estaba firmemente establecido como director de banda. Probablemente no lo sabía en ese momento, pero también hizo historia en el jazz, ya que Bohemia marca el debut discográfico de los conmovedores hermanos Adderley: el peso pesado del saxo alto Cannonball y el as cornetista/compositor Nat. Los hermanos también contribuyeron con varios temas. Esta sesión es un bop con mucho swing, con un muy buen trabajo de principios de la carrera del pianista Horace Silver y el bajista Paul Chambers.
https://www.allmusic.com/album/bohemia-after-dark-mw0000099767

VA • The Bossa Nova Exciting Jazz Samba Rhythms - Vol 4 of 6

 

The Bossa Nova: Exciting Jazz Samba Rhythms is a six-volume series of music highlighting some of the beautiful music of Brazil, shown by the artists of the country along with outsiders who too have fallen in love with the bossa nova. The first five volumes were released by Rare Groove Recordings in 2000 and due to its success, a sixth and final version was released two years later, highlighting some of the bossa nova music used in motion pictures. Some of the material are sourced from vinyl.

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Traducción Automática:

Bossa Nova: Exciting Jazz Samba Rhythms es una serie de seis volúmenes de música que destaca algunas de las bellas músicas de Brasil, mostradas por los artistas del país junto con extraños que también se enamoraron de la bossa nova. Los primeros cinco volúmenes fueron lanzados por Rare Groove Recordings en 2000 y, debido a su éxito, se lanzó una sexta y última versión dos años más tarde, destacando parte de la música de bossa nova utilizada en las películas. Algunos de los materiales provienen de vinilo.

The Adderley Brothers • The Summer Of '55

 

Review from AllMusic:
Julian "Cannonball" Adderley and Nat Adderley are both legendary names in jazz now, but when the material on these two discs was recorded in 1955, they were newcomers on the New York jazz scene. These 21 tracks were originally released on three separate LPs: the first as Bohemia After Dark (with drummer Kenny Clarke billed as leader), the second under Cannonball's name as Spontaneous Combustion, and the third titled That's Nat. This reissue leaves the tracks in the same order as that found on the original LPs (with the addition of several alternate takes). The playing is stupendous, and Cannonball's alto sax is particularly reminiscent of Charlie Parker at the peak of his powers. Cannonball and Nat's compositions, especially the very boppish "Chasm" and the bluesy "Hear Me Talkin' to Ya" simultaneously hark back to and expand the bebop tradition in a way that would lead directly to the hard bop sound of Art Blakey and others.
https://www.allmusic.com/album/the-summer-of-55-mw0000252296

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Reseña de AllMusic:
Julian "Cannonball" Adderley y Nat Adderley son ahora nombres legendarios en el jazz, pero cuando el material de estos dos discos fue grabado en 1955, eran recién llegados a la escena del jazz de Nueva York. Estos 21 temas fueron publicados originalmente en tres LPs separados: el primero como Bohemia After Dark (con el baterista Kenny Clarke acreditado como líder), el segundo bajo el nombre de Cannonball como Spontaneous Combustion, y el tercero titulado That's Nat. Esta reedición mantiene los temas en el mismo orden que el encontrado en los LPs originales (con la adición de varias tomas alternativas). La interpretación es estupenda, y el saxofón alto de Cannonball recuerda particularmente a Charlie Parker en la cima de sus poderes. Las composiciones de Cannonball y Nat, especialmente el muy boppish "Chasm" y el bluesy "Hear Me Talkin' to Ya" evocan y expanden simultáneamente la tradición del bebop de una manera que llevaría directamente al sonido hard bop de Art Blakey y otros.
https://www.allmusic.com/album/the-summer-of-55-mw0000252296

Milt Jackson • Plenty, Plenty Soul

 

This release contains Milt Jackson's complete album Plenty, Plenty Soul (Atlantic SD8811), plus two of the three sessions from his LP Ballads & Blues, included here in their entirety.

“There should be some exceptional merit badge for this sort of thing - Five Stars Plus or Too Good to Rate.”

Ralph J. Gleason on Plenty, Plenty Soul, DOWN BEAT 1957

“Milt throughout is remarkable – even his rests pulsate.”

-  Nat Hentoff on Ballads & Blues, DOWN BEAT 1957 1/2

https://www.jazzmessengers.com/es/10799/milt-jackson/plenty-plenty-soul

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Este lanzamiento contiene el álbum completo de Milt Jackson, Plenty, Plenty Soul (Atlantic SD8811), además de dos de las tres sesiones de su LP Ballads & Blues, incluidas aquí en su totalidad.

"Debería haber alguna insignia de mérito excepcional para este tipo de cosas - Five Stars Plus o Too Good to Rate."

Ralph J. Gleason en Plenty, Plenty Soul, DOWN BEAT 1957

"Milt es notable en todas partes, incluso sus descansos palpitan."

- Nat Hentoff en Ballads & Blues, DOWN BEAT 1957 1/2

https://www.jazzmessengers.com/es/10799/milt-jackson/plenty-plenty-soul

Un extraordinario disco del vibrafonista, Milt Jackson fuera del ambito de su grupo, "The Modern Jazz Quartet". Liderando la sesión, Jackson se hace acompañar por extraordinarios instrumentistas, destacando la presencia del gran Cannoball Adderley al saxo alto, el extraordinario, Frank Foster al saxo tenor y el baterista, Art Blakey. Extraordinario.

http://apoloybaco.com ...

Paul Chambers • Go

The first of two Vee Jay label dates by the acclaimed modern jazz bassist Paul Chambers is a fine exercise in hard bop, split between showcasing his compositions and famous standards. Alto saxophonist Cannonball Adderley and trumpeter Freddie Hubbard are on the front line, perhaps for the only time in their storied careers, and work well for the most part. Pianist Wynton Kelly and either drummers Philly Joe Jones or Jimmy Cobb complete the quintets. The advantage in buying this reissue is that the second CD is comprised exclusively of outtakes from the originally issued tracks, and many of them have extended solos. Of the covers, "There Is No Greater Love" features a chuckling and cajoling Adderley, very happy for the fortune smiling on him, while "Just Friends" has the two horns playing this chestnut pretty much straight, with counterpointed stop-start techniques chirping at the rhythm section, and a young Hubbard offering his best solo. "I Got Rhythm" brings Cobb to the team, as a modal base from Kelly and Chambers buoys the wailing horns. Of the originals, Hubbard and Adderley sound mismatched on the 6/8 to 3/4 calypso-swing "Julie Ann," where their harmonics don't quite synch up. Their teamwork pays off royally during "I Heard That" and the classic hard bopper with Cobb "Ease It," where the tempo persists, but the horns grow quieter and quieter in mezzo piano range to near nothingness -- the epitome of cool. There's another classic here, as "Awful Mean" is emotionally neither, but instead cures Adderley's brief once-through melody statement into a vintage shuffle. The alternate take of this one is two-and-a-half minutes longer. "I Heard That" is called a "remake" though the original is just fine, and the second "remake" of the ballad "Dear Ann" (one of three attempts included) extends Chambers on his arco bowed bass melody, both pieces adding a ramped uptempo. This recording and 1st Bassman offer different aspects of Chambers as a leader, with the latter album having him take on more responsibility as a lead melodicist. After having played with the game changing bands of Miles Davis and John Coltrane, Chambers died far too young ten years hence in January of 1969, but left behind a memorable 15-year legacy, well represented by this recording where he was in his early prime.

Biography

One of the top bassists of 1955-1965, Paul Chambers was among the first in jazz to take creative bowed solos (other than Slam Stewart, who hummed along with his bowing). He grew up in Detroit, where he was part of the fertile local jazz scene. After touring with Paul Quinichette, Chambers went to New York, where he played with the J.J. Johnson-Kai Winding quintet and George Wallington. He spent the bulk of his prime years (1955-1963) as a member of the Miles Davis Quintet, participating in virtually all of Davis' classic recordings of the era. When he left, "Mr. P.C." (as John Coltrane called him in one of his originals) worked with the Wynton Kelly Trio (1963-1966) and freelanced until his death. Chambers, a consistently inspired accompanist who was an excellent soloist, made many recordings during his brief period, including some with Sonny Rollins, Coltrane, Cannonball Adderley, Donald Byrd, Bud Powell, and Freddie Hubbard, in addition to a few as a leader.

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La primera de las dos fechas del sello Vee Jay del aclamado bajista de jazz moderno Paul Chambers es un fino ejercicio de hard bop, dividido entre mostrar sus composiciones y famosos standards. El saxofonista alto Cannonball Adderley y el trompetista Freddie Hubbard están en la primera línea, quizás por única vez en sus historiadas carreras, y trabajan bien en su mayor parte. El pianista Wynton Kelly y los bateristas Philly Joe Jones o Jimmy Cobb completan los quintetos. La ventaja de comprar esta reedición es que el segundo CD está compuesto exclusivamente por tomas de los temas originales, y muchos de ellos tienen solos extendidos. De las portadas, "There Is No Greater Love" presenta a un Adderley riendo y engatusando, muy feliz por la fortuna que le sonríe, mientras que "Just Friends" tiene a los dos cuernos tocando esta castaña bastante recta, con técnicas de stop-start contrapuestas chirriando en la sección rítmica, y un joven Hubbard ofreciendo su mejor solo. "I Got Rhythm" trae a Cobb al equipo, como base modal de las boyas de Kelly y Chambers de las trompas de llanto. De los originales, Hubbard y Adderley suenan mal en el calypso-swing de 6/8 a 3/4 "Julie Ann", donde sus armónicos no se sincronizan del todo. Su trabajo en equipo da sus frutos durante "I Heard That" y el clásico hard bopper con Cobb "Ease It", donde el tempo persiste, pero las trompas se vuelven más y más silenciosas en el rango del piano de mezzo hasta casi la nada - el epítome de lo genial. Hay otro clásico aquí, ya que "Awful Mean" no es emocionalmente ninguna de las dos cosas, pero en cambio cura la breve declaración de la melodía de Adderley de una sola vez en una barajadura vintage. La toma alternativa de esta es de dos minutos y medio más larga. "I Heard That" se llama un "remake" aunque el original está muy bien, y el segundo "remake" de la balada "Dear Ann" (uno de tres intentos incluidos) extiende Chambers en su melodía de bajo con arco, ambas piezas añadiendo un uptempo rampante. Esta grabación y 1st Bassman ofrecen diferentes aspectos de Chambers como líder, con este último álbum que le hace asumir más responsabilidad como melodista principal. Después de haber tocado con las bandas de cambio de juego de Miles Davis y John Coltrane, Chambers murió demasiado joven diez años después, en enero de 1969, pero dejó un memorable legado de 15 años, bien representado por esta grabación en la que estuvo en su mejor momento.

Biografía

Uno de los mejores bajistas de 1955-1965, Paul Chambers fue uno de los primeros en el jazz en hacer creativos solos de arco (aparte de Slam Stewart, que tarareaba junto con su arco). Creció en Detroit, donde formó parte de la fértil escena de jazz local. Después de ir de gira con Paul Quinichette, Chambers se fue a Nueva York, donde tocó con el quinteto de J.J. Johnson-Kai Winding y George Wallington. Pasó la mayor parte de sus mejores años (1955-1963) como miembro del Quinteto de Miles Davis, participando en prácticamente todas las grabaciones clásicas de Davis de la época. Cuando se fue, "Mr. P.C." (como lo llamó John Coltrane en uno de sus originales) trabajó con el Wynton Kelly Trio (1963-1966) y trabajó como freelance hasta su muerte. Chambers, un acompañante constantemente inspirado que fue un excelente solista, hizo muchas grabaciones durante su breve período, incluyendo algunas con Sonny Rollins, Coltrane, Cannonball Adderley, Donald Byrd, Bud Powell, y Freddie Hubbard, además de algunas como líder.

VA • 30 Soulful Moments in Jazz

  

VA • Take the A Train - New York Jazz

 

 

Quincy Jones, Cannonball Adderley, Anita O'Day, Ella Fitzgerald, Chet Baker, Hank Mobley, Sonny Rollins, Oliver Nelson, Dexter Gordon, Jimmy McGriff, Thelonious Monk, Benny Green, Dizzy Gillespie...

 

 

VA • Verve Jazz Club Collection Saxophone Ballads

 

 

Dexter Gordon, Charlie Parker, Al Cohn, Stan Getz, Joe Henderson, Lester Young, Johnny Hodges, Cannonball Adderley, Sonny Stitt, Klaus Doldinger, Don Byas, Gerry Mulligan …

 

VA • The Hard Bop Years - Rudy Van Gelder Masters

 

Compilation of RVG's masters, 99 tracks.

Art Blakey, Grant Green, Wayne Shorter, Bobby Hutcherson, Kenny Burrell, Cannonball Adderley, Ike Quebec, Jimmy Smith, Joe Henderson, Horace Silver, Sonny Rollins, Clifford Jordan, Blue Mitchell, Thelonious Monk, J.J. Johnson, Freddie Hubbard, Lee Morgan, Jackie McLean, Lou Donaldson, Dexter Gordon, Stanley Turrentine ...

VA • The Greatest Soul Jazz

 

Ray Charles, Cannonball Adderley, Sonny Stitt, Gene Ammons, Roy Ayers, Donald Byrd, Stanley Turrentine, Horace Silver, Grant Green, Hank Mobley, George Benson, Jimmy Smith, Kenny Burrell, Jimmy McGriff, Ray Bryant, Lee Morgan.

VA • A Raymond Chandler Tribute Philip Marlowe Jazz and Blues Unveiled Favorites

 

Colaboradora / Contributor: 

VA • Blue Note Plays Bossa Nova

James Clay-David Fathead Newman • The Sound Of The Wide Open Spaces

 

Review
by Scott Yanow
James Clay's debut album as a leader (and one of only two that he cut before moving back to Dallas for nearly 30 years) matches him with fellow Texas tenor David "Fathead" Newman, pianist Wynton Kelly, bassist Sam Jones and drummer Art Taylor. Cannonball Adderley supervised the session, putting the spotlight on the competitive horns who really battle it out on the Babs Gonzales blues "Wide Open Spaces." Clay, who plays flute on the date's lone standard "What's New," holds his own with Newman and plenty of sparks fly. This Riverside album was reissued in the Original Jazz Classics series as an LP in the 1980s.
https://www.allmusic.com/album/the-sound-of-the-wide-open-spaces-mw0000219406

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Reseña
por Scott Yanow
El álbum debut de James Clay como líder (y uno de los dos únicos que grabó antes de volver a Dallas durante casi 30 años) le empareja con su compatriota tenor tejano David "Fathead" Newman, el pianista Wynton Kelly, el bajista Sam Jones y el batería Art Taylor. Cannonball Adderley supervisó la sesión, poniendo el foco en las competitivas trompas que realmente luchan en el blues de Babs Gonzales "Wide Open Spaces". Clay, que toca la flauta en el único estándar de la sesión, "What's New", se las arregla con Newman y saltan chispas. Este álbum de Riverside se reeditó en la serie Original Jazz Classics como LP en la década de 1980.
https://www.allmusic.com/album/the-sound-of-the-wide-open-spaces-mw0000219406

The Cannonball Adderley Sextext • BBC Studios 1964

 

Tracks:
The Cannonball Adderley Sextet live at BBC Studios in London, UK on 5.14.1964. This recording features Nat Adderley on cornet. Recorded by the British Broadcasting Corp. (BBC), and broadcast on BBC TV on June 2nd & August 3rd, 1964, and on BBC Radio on September 25, 1964.

Julian "Cannonball" Adderley was an American jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Adderley is perhaps best remembered for the 1966 soul jazz single "Mercy, Mercy, Mercy", which was written for him by his keyboardist Joe Zawinul and became a major crossover hit on the pop and R&B charts. A cover version by the Buckinghams, who added lyrics, also reached No. 5 on the charts. Adderley worked with Miles Davis, first as a member of the Davis sextet, appearing on the seminal records Milestones (1958) and Kind of Blue (1959), and then on his own 1958 album Somethin' Else. He was the elder brother of jazz trumpeter Nat Adderley, who was a longtime member of his band.  

In July 1975, Cannonball Adderley suffered a stroke from a cerebral hemorrhage and died four weeks later, on August 8, 1975, at St. Mary Methodist Hospital in Gary, Indiana, at age 46. He was survived by his wife Olga Adderley, parents Julian Carlyle and Jessie Lee Adderley, and brother Nat Adderley.  Later in 1975, he was inducted into the DownBeat Jazz Hall of Fame. Joe Zawinul's composition "Cannon Ball" on Weather Report's Black Market album is a tribute to his former leader. Pepper Adams and George Mraz dedicated the composition "Julian" on the 1975 Pepper Adams album of the same name days after Cannonball's death. (Wikipedia)


Tracks::
Work Song 00:57
The Song My Lady Sings 08:11
Poor Butterfly 16:06
The Jive Samba 20:50
Unit Seven 28:09
The Weaver 30:10
Bohemia After Dark 38:29
Come Sunday 44:11
Sweet Georgia Bright 50:39
Unit Seven 55:43

Credits:
Cannonball Adderley - Alto Sax 
Nat Adderley - Cornet 
Charles Lloyd - Tenor Sax, Flute
Joe Zawinul - Piano
Sam Jones - Bass
Louis Hayes - Drums

This is currently the oldest broadcast on FM Radio Archive. Very few FM broadcast recordings from 1965 or earlier are available, but TV broadcasts of jazz artists from this period are more plentiful, especially from Europe. Watch for more mid-60's jazz broadcasts on FM Radio Archive.

 Note: Rip on 2 tracks. 

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VA • 70 Sax Classic Jazz - CD#4

 

Cannonball Adderley • Pyramid

 

Review by Scott Yanow
Cannonball Adderley is in generally good form on this 1974 recording. His Quintet at the time featured cornetist Nat Adderley, keyboardist Hal Galper, bassist Walter Booker and drummer Roy McCurdy. Guests on some selections include guitarist Phil Upchurch, keyboardist George Duke and (on "Bess, Oh Where's My Bess") veteran pianist Jimmy Jones. The emphasis is on recent group originals including the three part "Suite Cannon," two Galper compositions and Cannonball's "Pyramid." Nothing too earthshattering occurs but this is an improvement over many of Adderley's Capitol recordings. 
https://www.allmusic.com/album/pyramid-mw0000031982

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Reseña de Scott Yanow
Cannonball Adderley se encuentra en buena forma en esta grabación de 1974. Su quinteto en ese momento estaba formado por el cornista Nat Adderley, el teclista Hal Galper, el bajista Walter Booker y el baterista Roy McCurdy. Entre los invitados que participan en algunas selecciones se encuentran el guitarrista Phil Upchurch, el teclista George Duke y (en «Bess, Oh Where's My Bess») el veterano pianista Jimmy Jones. Se hace hincapié en los temas originales recientes del grupo, entre los que se incluyen la «Suite Cannon» en tres partes, dos composiciones de Galper y «Pyramid» de Cannonball. No ocurre nada demasiado trascendental, pero supone una mejora con respecto a muchas de las grabaciones de Adderley para Capitol. 
https://www.allmusic.com/album/pyramid-mw0000031982

VA • Blue Note 101 Cocktail Jazz

 

Cannonball Adderley • Somethin' Else