Nat Adderley led a double creative life at Riverside: featured on the highly successful working-group albums led by his brother Cannonball, and also devising several intriguingly different projects under his own name. Very possibly the most interesting was Work Song, which took its title from one of Nat's most widely known soulful compositions, and took its instrumentation from the younger Adderley's fertile imagination. Cornet, cello, and guitar make up a front line that will probably never be duplicated. The guitarist was his friend Wes Montgomery, just emerging towards jazz stardom; the cellist was the longtime bassist of Cannonball's band, Sam Jones.

Coming off of his success as a sideman with Miles Davis' sextet, Riverside Records gave Kelly an opportunity to expand on his solo career. Kelly Blue was his second LP for the label. The songs feature Kelly and bassist Paul Chambers and drummer Jimmy Cobb. Together they had formed the rhythm section for the Miles Davis bands. Guests include Nat Adderley, Bobby Jaspar and Benny Golson. Producer and jazz critic Orrin Keepnews described the album as "a repertoire ideally suited to the blues concept on which the album is based".

Nancy Wilson/Cannonball Adderley is a studio album by Nancy Wilson and Cannonball Adderley originally issued in February 1962 by Capitol Records. The Penguin Guide to Jazz states "The odd session out is the date with Nancy Wilson for Capitol, primarily designed as a showcase for the young singer but with five band-only tracks as well. Wilson had a self-conscious phrasing and melodramatic lighting-up of key lines - but there is a version of "A Sleeping Bee" here which is one of the most charming of all her recordings, and Cannon and the others play personably throughout". Wilson considered her vocals on the album "as a sort of easy-going third horn".

"Liederhalle Stuttgart '69" comes from the archives of German broadcaster Südwestrundfun and features five tracks from one of Cannonball Adderley Quintet's many post-World War II European performances. Pianist Joe Zawinul's Rumpelstiltskin is edgy and upbeat, showcasing a hard-swinging side to the ensemble, while The Painted Dessert's range of moods and tempos sees the five musicians working together to create something special and idiosyncratic.

Nat Adderley led a double creative life at Riverside: featured on the highly successful working-group albums led by his brother Cannonball, and also devising several intriguingly different projects under his own name. Very possibly the most interesting was Work Song, which took its title from one of Nat's most widely known soulful compositions, and took its instrumentation from the younger Adderley's fertile imagination. Cornet, cello, and guitar make up a front line that will probably never be duplicated. The guitarist was his friend Wes Montgomery, just emerging towards jazz stardom; the cellist was the longtime bassist of Cannonball's band, Sam Jones.

Recorded for Riverside, this set mostly features the influential pianist Wynton Kelly in a trio with his fellow rhythm-section mates from the Miles Davis bands, bassist Paul Chambers and drummer Jimmy Cobb. "Kelly Blue" and "Keep It Moving" add cornetist Nat Adderley, flutist Bobby Jaspar and the tenor of Benny Golson to the band for some variety. Kelly was renowned as an accompanist, but as he shows on a set including three of his originals and four familiar standards (including "Softly, As in a Morning Sunrise" and "Willow Weep for Me"), he was also a strong bop-based soloist too. A fine example of his talents.

The Cannonball Adderley Quintet in San Francisco is a 1959 album by The Cannonball Adderley Quintet. The groundbreaking album launched "soul jazz", according to NPR, bridging "the gap between bebop and funk". The album was recorded at The Jazz Workshop in San Francisco before an appreciative standing-room only crowd. The album broke new ground as a live recording taped in noisy club environments, creating a formula that not only the Cannonball Quintet but other jazz ensembles would follow.