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Live At the 1994 Floating Jazz Festival (Bonus Tracks)

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Opinião do álbum

Nat Adderley and his quintet (with altoist Vincent Herring, pianist Rob Bargad, bassist Walter Booker and drummer Jimmy Cobb) are heard on this double-CD in particularly fine form playing eight lengthy selections; all but "Mercy, Mercy, Mercy" are over nine minutes long. Herring often takes solo honors, the rhythm section (which includes two survivors from the Cannonball Adderley days plus young pianist Bargad) is excellent and Nat's chops are in better than usual shape. The music overall is very much in the tradition of Cannonball's quintet. But actually the main reason to acquire this set is for Nat's storytelling; there are 38 minutes of talking in addition to the 84 minutes of music. Nat's monologues between songs have been left intact and he talks about the origin of the title of Sam Jones' "Unit Seven," the reason why "Work Song" is his favortite tune and some other interesting tales. Adderley (who competes well with his late brother Cannonball at contributing intelligent commentary) also is heard on the closing "Jazzspeak" (which clocks in at 13:44) remembering a humorous but important lesson that he learned from Cannonball. Recommended.

Biografia

Nascido em: November/11/1931 em Tampa, FL

Gênero: Jazz

Anos em atividade: '50s, '60s, '70s, '80s, '90s

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,...
Biografia completa
Live At the 1994 Floating Jazz Festival (Bonus Tracks), Nat Adderly
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