To the Ivy League from Nat (Mono Remastered Edition) Nat Adderley

• 1 #251 (Mono Remastered) 02:43
• 2 Sam's Tune (Mono Remastered) 03:23
• 3 Bimini (Mono Remastered) 03:38
• 4 The Fat Man (Mono Remastered) 03:28
• 5 Sermonette (Mono Remastered) 03:34
• 6 Jackleg (Mono Remastered) 03:47
• 7 The Nearness of You (Mono Remastered) 06:11
• 8 Rattler's Groove (Mono Remastered) 03:25
• 9 Hayseed (Mono Remastered) 03:03
• Total Runtime 33:12

Info zu To the Ivy League from Nat (Mono Remastered Edition)

To the Ivy League from Nat is an album by jazz cornetist Nat Adderley released on the EmArcy label featuring performances by Adderley with his brother Cannonball Adderley, Junior Mance, Sam Jones/Al McKibbon, and Charles "Specs" Wright with arrangements by Ernie Wilkins.

The Adderley brothers have had a career on records that is not much more than a year old, yet in that time they have shown an amazing musical potential, expanding both in public recognition and in their own musical capabilities.

Nat Adderley, in particular, seems to have matured considerably as the result of a confidence acquired during the first few months playing in the big-time jazz circles of Basin Street and The Bohemia. As his brother Julian puts it, "Nat has discovered he is more capable than he realized himself; his range is expanding and there are moments when he sure sounds like Clifford Brown."

This new set of Adderley performances marks the first appearance on records of the actual group with which they have been playing the night clubs lately. Their regular touring personnel consists of Nat and Julian plus Junior Mance on piano, Charles Wright on drums and Sam Jones on bass. Al McKibbon, best known as a member of the George Shearing quintet for the past several years, is the bassist on Number 251, Sam's Tune, The Fat Man and The Nearness of You.

Number 251, which opens the set, is a happy-sounding original written especially for the group by Jackie Byard, a pianist and tenor saxophonist who works witb Herb Pomeroy's group in Boston. Solos by Nat, Cannonball and Mance.

Sam's Tune is a simple blues, starting with four bars of riffing that are then repeated a fourth higher. A surprise arrives in the shape of a cello, played by Sam Jones. Though he has only had about a year's experience in the pizzicato jazz cello approach, Sam reveals here that Oscar Pettiford may have a serious competitor in the near future.

Bimini, a haunting minor theme written by Nat, is named for an island in the Bahamas where the Adderleys used to go deep-sea fishing. Again, alto, trumpet and piano are featured in the solo roles.

The Fat Man was composed by Jerome Richardson, the saxophonist and flutist well known in New York jazz circles and heard as a soloist on several EmArcy long plays. Naturalty it is named for Cannonball, who establishes the minor riff theme, with its two- beat feel, while Mance gaily fills the gaps between phrases. Nat is particularly effective in his muted solo here.

Sermonette, which concludes the first side, has a "churchy" theme representative of what might be called the "modernized ancient" school of jazz composition, of which Horace Silver's The Preacher was an earlier example. Again the rhythm has a gently rocking two-beat accent with Jones' bass as an effective underline.

Jackleg, a 16-bar minor theme played in unison by the two horns, was written by Samuel Hurt, a trombonist who used to play with Dizzy Gillespie's big band. A jackleg preacher is one who has no church of his own, but walks around preaching on street corners. You can hear this flavor both in the melody and the construction, which uses breaks on the middle four bars, along the antique but perennial lines established in the early jazz days by such tunes as How Come You Do Me Like You Do? Mance sounds very Horace Silverish in his excellent solo here, and Jones' eloquent bass precedes the final fading theme.

The Nearness of You, a Hoagy Carmichael standard, opens with a melodic Cannonball solo. Nat improvises in a peppery, multi-noted style; Wright doubles the rhythm while the bass retains the original slow tempo. Toward the end, Cannonball and Nat indulge in a little family fun with a quote from Alouette and generally satirical atmos phere that reminds us of the Adderleys' always latent sense of humor, a welcome element in any jazzman's personality.

Rattler's Groove, another original by Nat, was named, we were told "after our college football team. The team's mascot was a rattlesnake and they called us the Florida Rattlers".This is a boppish opus in which Julian, Nat and the other Julian are very much at ease; Wright gets a solo spot in the bridge of the last chorus.

Hayseed is another "kidding on the square" composition, at bright tempo -"We tried to depict country, folk-type themes," explains Cannonball. The rhythm section, as it has in the entire album, really wails throughout this consistently swinging performance.

We feel sure that if you have met the Adderley brothers on one of their many successful night club engagements, you will be happy to find them preserved intact on records and reacquaint yourselves with them on these sides. Of course, if the long play marks your first encounter with the jazz contributions of this outstanding quintet, we hope the situation will apply in reverse by leading you to your local bistro the next time they pass through town.

Nat Adderley, cornet
Cannonball Adderley, alto saxophone
Junior Mance, piano
Sam Jones, double bass (tracks 3-11), cello (tracks 2 & 3)
Al McKibbon, double bass (tracks 1-3)
Charles "Specs" Wright, drums

Digitally remastered

Nat Adderley
worked in his brother’s band for 16 years, and during most of that time he was been cited as a strong, integral part of the Cannonball Adderley Quintet. Critics always say he didn’t get the attention he deserved, mostly because the Quintet was a finely-honed group, and to say one part is better than another was an exercise in futility.

As Jon Hendricks said of the Adderley brothers: “Cannonball and Nat have shared a whole incarnation on Earth together. They are together, and I don’t mean just playin’ at the same time, but being the same thing at the same time, which ain’t easy.”

The Adderley Quintet was noted for its easy grace and genuine warmth. To witness the interplay (musical and otherwise) between Nat and his older brother was an experience!

Nat explained his personal career, apart from his brother’s, this way: “Well, you know I haven’t made a record, by myself, for three or four years. I haven’t had anything personal I wanted to say. Then I gradually formulated the idea for this album [Double Exposure], and got ready to do it.”

The Adderley Quintet was as busy as any group working in jazz. They recorded frequently, and had a continuing series of concerts and club dates across the country. Nat said: “We’re always busy, unless we’re on vacation, and that doesn’t happen often enough! I didn’t decide to make my say, and I didn’t want to impose myself on the band. You know, I didn’t want to walk up to Julian and say, ‘Hey, how about cutting “Watermelon Man” and let me do the vocals?’ This is music that I’d rather do by myself, even if I do have Hal, Walter, and Roy on the date! [Hal Galper, pianist; Walter Booker, bassist; and Roy McCurdy, drummer; all from the Adderley Quintet].

“And Julian produced this with David Axelrod [who also works frequently with the Adderley Quintet] because I asked them to. But this is my music, stuff I feel very personal about.”

In fact, it may surprise some people to learn that Nat recorded, under his own name, for Milestone, Mercury, Limelight, A&M, and Atlantic. Double Exposure was his first LP for Prestige.

Talking about his early days in Florida, Nat said he made his musical debut at the Edgewood Club in Tallahassee. He described himself as a “boy soprano singer, and I stayed that way until 12 when my voice changed.” Nat then picked up the trumpet and started blowing “for my daily bread.” For the next seven years he played with a series of bands, and finally got his voice straightened out “to the point where I sounded like a teen Billy Eckstine.”

Adderley eventually ended up in the Army and was stationed in Louisville, Kentucky. “By this time I was so heavy into the jazz scene that I spent each free weekend in Louisville or across the border in Indiana sitting in with local jazz and blues groups who were laying down Charlie Parker tunes.”

After the Army, Adderley entered Florida A&M, and graduated with a B.S. in sociology. He went on to graduate school and then landed “my first major job— playing with Lionel Hampton.” This association lasted for a year. Following Hampton, Adderley worked with a series of r&b groups and eventually teamed up with his brother Julian “Cannonball” Adderley in 1955. In 1956 Nat formed his own band, working with such jazz figures as Sam Jones, Jimmy Cobb, and Junior Mance. This was to last until 1957. “Then my brother joined Miles Davis, and I freelanced around New York with Bill Evans and [alto/saxist] Lou Donaldson.”

In 1958 Nat joined J.J. Johnson for nine months, then left on a tour of Europe with Woody Herman and his “nnnnnnnth Herd,” as Adderley termed it.

It was not until 1959 that the brothers were reunited to form the famous Cannonball Adderley Quintet. “I left Woody, and Julian left Miles, and it happened.”

Nat Adderley was also a composer of some note. He wrote “Jive Samba” and “Work Song,” two songs which have often been recorded by others.

Nat Adderley died on January 2, 2000.

Dieses Album enthält kein Booklet