The keyboardist/pianist and composer Nat Adderley, Jr. describes himself as an R&B artist — somewhat modest, considering his many successful years (1981–2005). As the arranger, composer, and music director for the legendary R&B singer Luther Vandross, a collaboration that lasted until the singer’s death, his songs that contributed to the singer’s chart-busting career include “Stop to Love,” “Wait for Love,” and the Grammy-nominated “Give Me the Reason”; his arrangements for Luther include “Superstar,” “So Amazing,” “If Only for One Night,” and “Never Too Much.”
After four decades with Luther and another 10 years honing his improvisational skills in the tri-state area of NYC, NJ, and CT, Nat steps into his family legacy as a jazz musician, following his legendary father, cornetist and composer Nat, Sr., and his uncle, alto saxophonist Cannonball Adderley. His debut album as a jazz pianist and leader, appropriately titled “Took So Long,” was just released on October 14, on his own NAJ independent label. The album includes 10 covers plus Nat’s original self-titled track. “Took So Long” is a beautiful romping ballad with light drum cymbals, whispering bass, and Nat’s jazz piano leading the dance with bold flurries of colorful, rhythmic tones. Nat adds spice to the well-traveled “Old Devil Moon,” up tempo with a Latin tinge, a bouncy piano with open space for a hip drum stroll. His Luther-collaborated “Superstar” is transformed from a compassionate, heartfelt ballad into a bopping heartbeat with drums blazing. On Billie Holiday’s signature “Don’t Explain,” he debuts with his daughter Alana offering a radiant eloquence that will enthrall listeners. Stevie Wonder’s “You and I (We Can Conquer the World)” is swinging in a 4/4 makeover.
“Took So Long” is an intriguing album that extends Nat’s R&B arranging brilliance to the jazz forum. “I’m still working on my improvisational chops — it’s going to take a while to perfect,” he said during our phone interview. ”This idea of starting a jazz career and releasing my first jazz album at this age makes me nervous. I will feel much better once the album is released and people have responded. During my years with Luther, each performance was basically the same — we performed each song as it appeared on the album — but jazz is more complicated, with constant improvisation.”
On the new record, the pianist is accompanied by longtime bandmates bassist Chris Berger and drummers Tommy Campbell, Dwayne Cook Broadnax, and Vince Ector, playing a dazzling assortment of standards that feature the creative arrangements of Adderley. His sound somewhat resembles pianist Erroll Garner. Nat plays fewer notes, allowing more open phrasing space, but like Garner, he has that subtle, high-flyin’ bouncy flow.
Summer’s burning sun has faded into brisk-autumn chills, but October has some heat of its own with warm jazz winds blowing from the BRIC JazzFest, October 17–18, at Downtown Brooklyn’s BRIC House.
The festival, known for bringing world diversity to Brooklyn, continues its 11th year with a fierce lineup featuring London-based saxophonist and composer Nubya Garcia, mixing her Caribbean roots with a taste of avant gardism; the ensemble Saha Gnawa embracing its North African futurism, uniting the founders of Innov Gnawa with leading artists from New York City’s jazz music scenes to reimagine modern Gnawa music; and OKAN, led by Cuban-born violinist/vocalist Elizabeth Rodriguez and percussionist/vocalist Magdelys Savigne fusing Afro-Cuban roots with jazz and global rhythms.
This genre-defying lineup extends even further with the music of NEA Jazz Master vocalist Dee Dee Bridgewater; bassist and composer Endea Owens & Cookout; the eclectic sounds of trumpeter/composer/producer Chief Adjuah (formerly Chrisitan Scott), recognized as the architect of the “Stretch Music” style, his inventive extension of the jazz genre; and the jazz artists of social media New Jazz Underground, with a following of more than 90,000 subscribers on YouTube, through their viral videos. The trio comprises Abdias Armenteros (the youngest member of the Jazz at Lincoln Center Orchestra), Sebastian Rios, and TJ Reddick.
As America struggles under such diabolical leadership, it is crucial to acknowledge that this year’s genre-defying lineup exemplifies jazz as a global language — shaped by migration, innovation, and collaboration, with half the groups led by women. The outcry for democracy for all continues in the streets and in this music.
The festival’s guest curator producer, multi-instrumentalist Adrian Younge, is known for bridging global Black musical traditions and speaking out against injustice through Jazz Is Dead, his co-founded record label with Ali Shaheed Muhammad. Younge brings a curatorial vision shaped by recent collaborations with Brazilian artists on his 2025 album “Something About April III,” as well as with legendary Ghanaian guitarist and composer Ebo Taylor.
These two nights bring imaginative performances, daring new voices, and global celebration of sound from Brooklyn to the world to 1600 Pennsylvania Avenue. Music transcends words, albums — like books — represent self-expression, freedom of speech!
For a complete schedule and times, visit bricartsmedia.org.
A Celebration of Black Theatre Excellence takes place on October 20 at the Theater for New City (155 First Avenue at 10th Street). The event is a pre-AUDELCO celebration honoring Black Theatre’s AUDELCO Awards and the visionary women behind it: the late Vivian Robinson, Grace L. Jones, and current president Jackie Jefferies.
This Jazzy Thespians Night, a Rome Neal Banana Pudding Production, will feature Tina Fabrique, Jeffery V. Thompson, Frank Senior, and Omar Edwards. Musicians for the evening will include pianist Andre Chez Lewis, saxophonist Patience Higgins (AUDELCO’s longtime friend and performer), noted bassist Melissa Slocum, and drummer Wen-Teng Wu.
The event begins at 7 p.m. Tickets are $20. For more information, visit theaterforthenewcity.net.
The United States of America is perplexed; there’s a sinister power in Washington, D.C., ordering book bans and erasing Black history. As such disgraceful actions take place, the Harlem Writers Guild (HWG) celebrates its 75th anniversary on October 24 at the Schomburg Center for Research in Black Culture (6 p.m.–9 p.m.).
The event theme — “When We Write, We Free the World” — reflects both the transformative power of storytelling and HWG’s enduring mission to inspire, challenge, and liberate through the written word.
Dr. Brenda M. Greene, founder and executive director emeritus of the Center for Black Literature, Medgar Evers College, CUNY, will receive the Inaugural John Oliver Killens Literary Leadership Award, recognizing her lifelong dedication to advancing Black literature and amplifying underrepresented voices. Poet, author, and Grammy-nominated spoken word artist Kevin Powell will deliver the keynote address.
The nonprofit HWG was founded in 1950 by John Oliver Killens, Rosa Guy, Dr. John Henrik Clarke, Willard Moore, and Walter Christmas, and has nurtured and championed some of the most influential Black voices in literature and the arts. Its members have included Dr. Maya Angelou, Audre Lorde, Paul Robeson, Lorraine Hansberry, Sidney Poitier, Ruby Dee, Ossie Davis, Louise Meriwether, Valerie Wilson Wesley, Terry McMillan, and Grace F. Edwards.
“This celebration is not only about honoring our history, but also about promoting our future — using our stories to empower, inspire hope, and remind the world that when we Write, Speak, and Act, We Free the World,” said Diane Richards, executive director of the guild.
To RSVP, visit eventbrite.com.
This week’s column is dedicated to my grandmother Lillian McCloud, whose birthday was on October 12. Unfortunately, she didn’t have an opportunity to read any of my published works, but she was a major influence in my life and is responsible for who I am today. How can you ever thank your grandmother for all her love and compassion, and saving you from a few butt beatings? Happy heavenly birthday, Grandma!