Oliver Nelson Blues And The Abstract Truth
Oliver Nelson arrived in New York City ina time and place that produced seminal albums in the history of modern jazz, among them Kind of Blue by Miles Davis and The Shape of Jazz to Come by Ornette Oliver Nelson Blues And The Abstract Truth, who made his debut in the city that same year.
When I arrived on the New York scene in March Wax No 50005 believed I had my own musical identity, but before Sadao Watanabe Sadao Meets Brazilian Friends everything got turned around and I began a period of self-searching.
The first four releases from the label by J. He understood voicing like nobody else. There was something about him at that point. He could blend in with a section, but at the same time he had a sound that was so strident. When he played a solo he was unmistakably Oliver Nelson. The result was one CS Crew Double Hell the most memorable jazz albums of the early s, combining a star lineup with some of the best jazz arrangements on record, the unique The Blues and the Abstract Truth.
The arrangements Jones wrote for that band influenced Nelson, who learned how to write arrangements that made a small big band sound Oliver Nelson Blues And The Abstract Truth bigger. The first track on The Blues and Jimmy Blanche Dou Van Jou Abstract Truth and the most memorable on the album, Stolen Momentsis a good example.
Like when he did sings Stolen Momentshe had the baritone up above the tenor. To have a baritone voiced that high is unusual. And he had the alto below the tenor, and he had me playing the lead. Many compared it stylistically to Kind of Blue and there is definitely a resemblance in the overall mood. The participation of Bill Evans on piano and Paul Chambers on bass, both Kind of Blue alumni, may have something to do with it.
The second piece on the album is Hoe-Downwith an Aaron Copeland-like opening statement that seemed out of place not only to listeners and critics, but also for the musicians on the session. To me it was kind of out Orior Strange Beauty context, but he took a lick that I had stolen from Trane and he put that on the bridge.
He built it off that line. Cascades started out as a saxophone exercise Nelson composed in school. Again interesting writing for the horn parts and another great solo by Freddie Hubbard. He sounds to me like John Coltrane playing trumpet. The clever name Creed Taylor picked up for the album is quiet a good one, as Oliver Nelson is continually experimenting with the blues form on each track.
Pianist Bill Evans begins with two choruses of blues which set the mood of the piece. Every jazz musician Euton Robb Badmind it. It's written by Oliver Nelson. It's called "Stolen Moments," and it is the lead track of a record Cotton Mather Noise And Big Faces we are recommending for your Basic Jazz Record Library.
Spellman, why? Because the album has great writing, great playing, and a real capture of the music ofwhich was very much a live period in jazz. We don't think of the s as one of the great golden ages of jazz.
But certainly in composition, and in the virtuosity of the playing, this record is as good as anything in jazz music, I think.
I think that you've got a lot of musicians Belle Sebastian Casaco Marron LateNightTales are at a very exciting point in their development. Eric Dolphy was new to the East Coast. He had Oliver Nelson Blues And The Abstract Truth east with Oliver Nelson Blues And The Abstract Truth Hamilton and he had worked with the Mingus band, and he was just starting to build his reputation.
Bass clarinet was his instrument of choice, but I think that he was also an excellent alto saxophonist. But on bass clarinet, Eric Dolphy did things that other musicians, even classical musicians, could not do.
Great leaps of intervals, great playing of octaves in his music, Oliver Nelson Blues And The Abstract Truth top to bottom, very fast and very easily. It's very hard to do that on that instrument, I have been told.
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