Research Catalog

Oral history interview with Nat Adderley.

Title
  1. Oral history interview with Nat Adderley.
Published by
  1. New York : Schomburg Center for Research in Black Culture, 1993.

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Vol/dateFormatMoving imageAccessUse in libraryCall numberSc Visual VRA-179Item locationSchomburg Center - Moving Image & Recorded Sound
StatusVol/dateDisc 3FormatMoving imageAccessUse in libraryCall numberSc Visual DVD-1063 Disc 3Item locationSchomburg Center - Moving Image & Recorded Sound
StatusVol/dateDisc 2FormatMoving imageAccessUse in libraryCall numberSc Visual DVD-1063 Disc 2Item locationSchomburg Center - Moving Image & Recorded Sound
StatusVol/dateDisc 1FormatMoving imageAccessUse in libraryCall numberSc Visual DVD-1063 Disc 1Item locationSchomburg Center - Moving Image & Recorded Sound

Details

Additional authors
  1. Adderley, Nat, 1931-2000
  2. Murray, James Briggs
  3. Owens, Jimmy, 1943-
  4. Schomburg Center for Research in Black Culture.
  5. Schomburg Center for Research in Black Culture. Louis Armstrong Jazz Oral History Project.
Description
  1. 3 videodiscs (104 min.) : soud, color; 4 3/4 in.
Summary
  1. The oral history interview with Nat Adderley begins with his childhood. Adderley was born in Tampa, Fla. A year later, the family, including older brother Cannonball moved to Tallahassee. Adderley's father played cornet and trumpet; around age 7 Nat began studying trumpet. A discussion of the jazz scene in Florida follows. Florida had a number of influential musicians, notably Blue Mitchell (Miami) and Cannonball. Adderley also admired musicians from other locales: Buck Clayton and Roy Eldridge, later Dizzy Gillespie. In the 1940s, Adderley collaborated with Blue; he taught Blue trumpet while Blue taught him bebop. World War II: a band director put Nat and Cannonball in a local college band; taught them a great deal. Nat sang with the band, but at 12 his voice changed. He therefore focused on the trumpet; learned a number of techniques. Late 1940s/early 1950s (service years): practiced by imitating Dizzy and Miles Davis. Duke Ellington came to play at Florida A & M; band member, Clark Terry, had dinner at the Adderley home. Under Terry's tutelage Nat began to understand why he was playing particular notes. Terry helped Nat get started in NYC. 1953/54 school year, Lionel Hampton came to play; Nat joined Hampton's band. The band was a classic trumpet band; Adderley, however, began playing the cornet. Jaki Byard started them on bebop; he introduced Cannonball to Charlie Parker and Nat to Dizzy. Nat toured US and Europe with Hampton. Was scheduled to play the Apollo; awaiting the birth of his son in Fla., he was replaced. Went to NYC anyway and, through Buster Cooper, began playing with a rhythm & blues band. Returned to Florida, then Philadelphia; played with Junior Mance, Sam Jones and Specs Wright (whom he likened to Max Roach). Terry and Quincy Jones got them a deal with Mercury (1956). Financial difficulties ensued and the band dismantled. Joined J.J. Johnson and signed with Riverside. Left J.J. for a gig with Woody Herman (1959). Continued to incorporate various exercises into his solos; superimposed chords were a particular challenge. Formed the Cannonball Adderley Quintet with brother; their careers ran parallel to each other until Cannonball's death in 1975. Nat toured Europe and, reuniting with J.J., Japan. Formed Nat Adderley Quintet. Discusses bell's palsy and a 1986 bypass surgery; prompts a discussion of Jimmy Heath's heart attack (same day, also in 1986). Adderley presents a collage of his works: "Mysterioso" (with Heath), "Motherless child" (with Hampton), etc. Special emphasis placed on Nat's greatest commercial hit, "Work song". Talks about the business side of music, including their own publishing, management and production companies. Concludes the interview with a discussion of Louis Armstrong; Adderley's father was an Armstrong fan but was critical of Armstrong's on-stage portrayal of African Americans. This affected Nat early on; later Adderley and Armstrong became neighbors and collaborators. Also collaborated with Ella Fitzgerald.
Donor/Sponsor
  1. The Louis Armstrong Jazz Oral History Project was funded by the Louis Armstrong Educational Foundation, Inc.
Subject
  1. Mance, Junior, 1928-2021
  2. Adderley, Nat, 1931-2000 > Interviews
  3. Davis, Miles > Influence
  4. Johnson, J. J., 1924-2001
  5. Adderley, Nat, 1931-2000 > Performances > Japan
  6. African American composers
  7. Facial paralysis
  8. Adderley, Cannonball
  9. Trumpet players > United States
  10. Nat Adderley Quintet
  11. Eldridge, Roy, 1911-1989 > Influence
  12. Trumpet music (Jazz)
  13. Adderley, Nat, 1931-2000 > Childhood and youth
  14. Cornet players > United States
  15. Mitchell, Blue, 1930-1979
  16. Jazz > Florida > History
  17. African American musicians
  18. Cornet > Chord diagrams > Technique
  19. Adderley, Nat, 1931-2000 > Performances > Europe
  20. Adderley, Nat, 1931-2000 > Family
  21. Rhythm and blues music
  22. Cannonball Adderley Quintet
  23. Trumpet > Study and teaching
  24. Bop (Music) > History
  25. Gillespie, Dizzy, 1917-1993
  26. Trumpet with jazz ensemble
  27. Trumpet > Technique
  28. Oral histories
  29. Herman, Woody, 1913-1987
  30. Clayton, Buck, 1911-1991 > Influence
  31. Cooper, Buster
  32. Terry, Clark > Influence
  33. Hampton, Lionel
  34. Jones, Sam, 1924-1981
  35. Jones, Quincy, 1933-
  36. Trumpet > Chord diagrams > Technique
  37. Adderley, Nat, 1931-2000 > Health
  38. Wright, Charles, 1927-1963
  39. Adderley, Nat, 1931-2000 > Performances > Saudi Arabia
  40. Interviews
  41. Armstrong, Louis, 1901-1971 > Influence
  42. Jazz musicians > United States
  43. Cornet music (Jazz)
Genre/Form
  1. Interviews.
  2. Oral histories.
Call number
  1. Sc Visual DVD-1063
Note
  1. The Louis Armstrong Jazz Oral History Project was funded by the Louis Armstrong Educational Foundation, Inc.
Credits (note)
  1. Producer, James Briggs Murray.
Terms of use (note)
  1. Permission required to cite, quote and reproduce; contact repository for information.
Biography (note)
  1. Nat Adderley is a cornet player, trumpet player and composer. Born Nathaniel Adderley on Oct. 25, 1931 in Tampa, Fla., he began a prolific career in jazz at an early age. First in close association with older brother Cannonball (Julian Edwin) and, from 1975, on his own.
Linking entry (note)
  1. Forms part of: Louis Armstrong Jazz Oral History Project.
Title
  1. Oral history interview with Nat Adderley.
Production
  1. New York : Schomburg Center for Research in Black Culture, 1993.
Type of content
  1. two-dimensional moving image
Type of medium
  1. video
Type of carrier
  1. videodisc
Digital file characteristics
  1. video file DVD
Performer
  1. Interviewer, Jimmy Owens.
Credits
  1. Producer, James Briggs Murray.
Event
  1. Recorded April 2, 1993 Schomburg Center for Research in Black Culture.
Terms of use
  1. Permission required to cite, quote and reproduce; contact repository for information.
Biography
  1. Nat Adderley is a cornet player, trumpet player and composer. Born Nathaniel Adderley on Oct. 25, 1931 in Tampa, Fla., he began a prolific career in jazz at an early age. First in close association with older brother Cannonball (Julian Edwin) and, from 1975, on his own.
Linking entry
  1. Forms part of: Louis Armstrong Jazz Oral History Project.
Local note
  1. Archival original: 1 videocassette (MII) in Sc Visual VRC-2.
Connect to:
  1. Request Access to Schomburg Moving Images and Recorded Sound
Added author
  1. Adderley, Nat, 1931-2000, interviewee.
  2. Murray, James Briggs, producer.
  3. Owens, Jimmy, 1943- interviewer.
  4. Schomburg Center for Research in Black Culture.
  5. Schomburg Center for Research in Black Culture. Louis Armstrong Jazz Oral History Project.
Research call number
  1. Sc Visual DVD-1063
  2. Sc Visual VRA-179 VHS
  3. Sc Visual VRC-2 MII
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