JAZZ CANNONBALL ADDERLEY Sophisticated Swing: the Emarcy Small Group Sessions

Description: to theivy league fromNATNAT ADDERLEY — cornetJULIAN CANNONBALL ADDERLEY — alto soxJUNIOR MANCE — pianoCHARLES WRIGHT - drumsSAM JONES and AL. Mc KIBBON — bassERNIE WILKINS -- arrangements Cannonball Adderley: the EmArcy small-group sessionsThe music in this collection forms a significant chapter in the history of the brothers Adderley. Not the first chapter, or even the first recorded chapter; but as the complete output of the first Cannonball Adderley Quintet plus a Nat Adderley-led session, these tracks (recorded between 1956 and 1958) are the prelude to one of the most successful combos in jazz history. That group, the second Cannonball Adderley Quintet, the alto saxophonist formed in 1959 and continued to lead until his death in 1975.At Julian "Cannonball" Adderley's side in both ventures, as number two soloist and full partner, was cornetist Nat Adderley. For him, the format and approach of these recordings remain his model to this day.He leads a quintet (with Jimmy Cobb, heard on some tracks here, once again on drums) that still draws heavily on the repertoire he and his brother made famous in the Fifties and Sixties. In June 1995, while Nat's band was spending a week working the Royal Caribbean Jazz Cruise, he took some time to relate the family history that produced one of the greatest brother acts in jazz.Music was a family tradition with the Adderleys. "There were four boys and a girl in my father's generation," Nat recalls,"and they all played. Everyone in the family attended Florida A&M, where my uncle Nathaniel started the school's first band. My father, Julian Carlyle Adderley, was the youngest and the only one who played jazz. He could play trumpet, but he never had any range or endurance, and he realized it before anyone else. He was a member of the Eagle Eye Shields band in Jacksonville; the other trumpet player was Cootie Williams. Pop used to say, 'I played lead and Cootie played ride.'"It was only natural that the father would encourage his first son, Julian Edwin, to follow the parental lead.Says Nat:"My father bought my brother a trumpet, but then Cannonball switched to alto sax. When he had to learn clarinet for the school marching band, he took lessons from Arnold Lee, [bassist] Bill Lee's brother. We had a band as kids, and originally I sang while Cannonball played trumpet. When he bought the alto, he taught me trumpet so Pop wouldn't be disappointed. Then somebody stole my horn, and I had to borrow one from the school; but all of the trumpets were in use, so I borrowed a cornet. The next day, at concert band practice, I noticed that the cornet had the lead parts while the trumpets just played ruffles and flourishes. So that's how I became a cornetist."My father always beat me over the head: 'You've got to read music.' He'd get out the ruler. This was never a problem with Cannon; everything musical came easy for him, while I had to hustle. He wanted to be a musician from the beginning, but my mother was convinced that I should be a lawyer. 'I've already got one music teacher,' she would say after Cannonball got out of college and began to teach."Growing up in Tallahassee, the brothers were playing music together almost from the outset. "At about seven or eight," Nat remembers, ORDER BEFORE 2 PM CENTRAL - SAME DAY SHIPPINGPRMCD245

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