| | Nat Adderley Work Song CD Nat Adderley Discography of CDs
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Our Price: $16.05  CDFor Sale Usually ships in 1-2 days
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Personnel: Nat Adderley (cornet); Sam Jones, Keter Betts (cello, bass); Bobby Timmons (piano); Wes Montgomery (guitar); Percy Heath (bass); Louis Hayes (drums).
Recorded in New York, New York on January 25 & 27, 1960. Originally released on Riverside (1167). Includes liner notes by Orrin Keepnews.
Digitally remastered by Phil De Lancie (1989, Fantasy Studios, Berkeley, California).
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Personnel: Nat Adderley (cornet); Nat Adderley; Keter Betts (cello); Percy Heath (bass instrument); Wes Montgomery (guitar); Sam Jones (cello); Bobby Timmons (piano); Louis Hayes (drums).
Liner Note Author: Orrin Keepnews.
Recording information: New York, NY (01/25/1960/01/27/1960); Reeves Sound Studios, New York, NY (01/25/1960/01/27/1960).
This CD reissue brings back a near-classic by cornetist Nat Adderley. Utilizing a cornet-cello-guitar front line (with Sam Jones and Wes Montgomery) along with a top-notch rhythm section (pianist Bobby Timmons, Percy Heath, or Keter Betts on bass and drummer Louis Hayes), Adderley performs a fine early version of his greatest hit ("Work Song") and helps introduce Cannonball Adderley's "Sack O' Woe." Four songs use a smaller group with Timmons absent on "My Heart Stood Still" (which finds Keter Betts on cello and Jones on bass), "Mean to Me" featuring Nat backed by Montgomery, Betts, and Hayes, and two ballads ("I've Got a Crush on You" and "Violets for Your Furs") interpreted by the Adderley-Montgomery-Jones trio. No matter the setting, Nat Adderley is heard throughout in peak form, playing quite lyrically. Highly recommended. ~ Scott Yanow
This two-LP set combines together two of cornetist Nat Adderley's finest albums: Work Song and That's Right. Both dates have since been reissued separately on CD. The former set features Nat with guitarist Wes Montgomery, cellist Sam Jones and a strong rhythm section (some selections are played by a smaller group from this band); highlights include "Work Song," "Sack O' Woe" and "Violets for Your Furs." The latter session is quite a bit different for Nat is joined by five saxophonists (including brother Cannonball on alto and Yusef Lateef on tenor, flute and oboe) and a four-piece rhythm section. Jimmy Heath (one of three tenors on the date) did most of the arrangements and gets to solo along with Lateef and Charlie Rouse. Most memorable is Nat's "The Old Country" and the ballad "The Folks Who Live on the Hill." Superb music worth acquiring in one form or another. ~ Scott YanowDown Beat (1960) - 4 Stars - Very Good - "...warm, fresh and sunny... Montgomery's playing is of the highest order...Recommended strongly..." **Super Audio CD (SACD) Hybrid**
This CD will play in standard CD players.
A Super Audio CD player is required to take advantage of the SACD sound technology. Work Song Music | List Price | $18.98 (You save $2.93) | | Category | Rock/Pop Albums, Jazz CDs, Jazz Instrument, Guitar, Cornet, Enhanced CD, Super Audio | | Label | Riverside Records (Jazz) | | Orig Year | 1960 | | All Time Sales Rank |  28939  | | CD Universe Part number | 6796531 | | Catalog number | 1167 | | Discs | 1 | | Release Date | Nov 30, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Orrin Keepnews | | Engineer | Jack Higgins | | Recording Time | 38 minutes | | Personnel | Nat Adderley - cornet
Keter Betts - cello, bass
Also: Percy Heath, Sam Jones, Louis Hayes, Wes Montgomery, Bobby Timmons | | Additional Info | SACD Hybrid |
Nat Adderley Work Song Songs | 1. | Work Song  | $0.99 | |
| 2. | Pretty Memory | $0.99 | |
| 3. | I've Got a Crush on You | $0.99 | |
| 4. | Mean to Me | $0.99 | |
| 5. | Fallout | $0.99 | |
| 6. | Sack O' Woe | |
| 7. | My Heart Stood Still | $0.99 | |
| 8. | Violets for Your Furs | $0.99 | |
| 9. | Scrambled Eggs | $0.99 | |
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Work Song Review
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Rick was born in San Pedro, California in 1957. At six years old, he and his mother moved to Greenwich Village, the famous community of artists, actors, and musicians located in lower New York City. It was in this environment that Rick learned to play the guitar, started singing, and discovered something called musical theater.At the age of 13, Rick moved to San Jose, California in 1970. He utilized his talents throughout the community by playing his guitar and singing, but his true love was still musical theater. Not surprisingly, God used Rick's passion for theater to open up his eyes to the Gospel. In 1975, during his senior year, he was performing in the hit musical Godspell when one of his friends explained to him the meaning behind the musical production. Rick became a Christian that year.Rick's attitude toward music was one of the first areas of his life that God began to change. Rick had always thought of music as means of getting what he wanted. In his own words, music was "a god" to him. But all of that changed when his guitar was stolen during the summer after he accepted Jesus as his Savior. Suddenly there was a great void in his life. It was a void that Rick eventually learned to fill with Christ. His guitar was returned only after he clearly saw that his first priority in life had to be God. Rick remembers: "Music was a god I worshiped, but now music is a means to worship God."After graduating from high school, Rick attended San Jose City College with a view toward majoring in music. Throughout these years he toured with a Spanish gospel singing group called Gospel Expressions. Although Rick could not speak Spanish, which meant that he could not sing any of the songs, he was blessed with an opportunity to play his guitar for the group. God used this experience to teach Rick another major lesson: a music minister does not have to be in the spotlight to serve Christ.In 1979 he graduated from San Jose State University with a degree in music, after which he was asked by Mike McGuffee, senior pastor of Warm Springs Baptist Church in California, to join McGuffee's church as the music and youth minister. It was during his two years at Warm Springs that Rick received an assurance from God that his life's purpose was to be a full time music minister.From Warm Springs, Rick traveled to Gilroy, California, where he went on staff as music minister at the First Baptist Church under the leadership of senior pastor Dr. Thurman George. After 4 1/2 years, Rick left First Baptist ...
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The Moody Blues: Mike Pinder, Justin Hayward, Ray Thomas, John Lodge, Graeme Edge.
Additional personnel: Pete Jackson (triangle).
Originally released on Deram (1035). Includes liner notes by John Reed.
Digitally remastered by Steve Fallone (PolyGram Studios).
The Moody Blues: Mike Pinder, Justin Hayward, Ray Thomas, John Lodge, Graeme Edge.
Additional personnel: Pete Jackson (triangle).
Includes liner notes by David Lymonds and Lionel Bart.
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
On the Threshold of a Dream was the first album that the Moody Blues had a chance to record and prepare in a situation of relative calm, without juggling tour schedules and stealing time in the studio between gigs -- indeed, it was a product of what were almost ideal circumstances, though it might not have seemed that way to some observers. The Moodies had mostly exhausted the best parts of the song bag from which their two preceding albums, Days of Future Passed and In Search of the Lost Chord, had been drawn, and as it turned out, even the leftover tracks from those sessions wouldn't pass muster for their next long-player project -- but those albums had both been hits, and charted well in America as well as England, and had overlapped with a pair of hit singles, "Nights in White Satin" and "Tuesday Afternoon," on both sides of the Atlantic. Their success had earned them enough consideration from Decca Records that they could work at their leisure in the studio through all of January and most of February of 1969; what's more, with two LPs under their belt, they now had a much better idea of what they could accomplish in the studio, and write songs with that capability in mind. Equally important, they'd just come off of an extensive U.S. tour (opening for Cream) and had learned a lot in the course of concertizing over the previous year, achieving a much bolder yet tighter sound instrumentally as well as vocally, and they could now write to and for that sound as well. So this album is oozing with bright, splashy creative flourishes in two seemingly contradictory directions that somehow come together as a valid whole. On the original LP's first side (which was the more rock-oriented side), the songs "Lovely to See You," ...
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