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| Verve Jazz Masters 48 |
| Oliver Nelson |
első megjelenés éve: 1995
69 perc |
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| (1995)
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CD |
| 2.686 Ft
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| 1. | Hoe Down
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| 2. | St. Louis Blues
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| 3. | Patterns for Orchestra [
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| 4. | I Remember Bird
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| 5. | A Typical Day in New York
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| 6. | Penthouse Dawn
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| 7. | One for Duke
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| 8. | Complex City
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| 9. | You Love But Once
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| 10. | Full Nelson
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| 11. | Ricardo's Dilemma
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| 12. | Paris Blues
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| 13. | The Sidewalks of New York (East Side, West Side)
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| 14. | Ballad for Benny
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| 15. | Greensleeves
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| 16. | Miss Fine
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Jazz / Post-Bop, Hard Bop
Oliver Nelson - Conductor, Sax (Tenor), Arranger, Sax (Alto)
Al Cohn Woodwind
Albert Dailey Piano
Aric Lach Morrison Production Coordination
Ben Young Research
Benny Powell Trombone
Bernie Glow Trumpet
Bill Kirchner Liner Notes
Bob Brookmeyer Trombone (Valve)
Bob Northern French Horn
Bobby Rosengarden Percussion, Flugelhorn, Trumpet
Burt Collins Trumpet, Flugelhorn
Chuck Stewart Photography
Clark Terry Trumpet, Flugelhorn
Creed Taylor Producer
Danny Bank Woodwind, Flute, Sax (Baritone), Clarinet (Bass)
Don Butterfield Tuba
Ed Shaughnessy Drums
Eric Gale Guitar
Ernie Royal Flugelhorn, Trumpet
Gary N. Mayo Mastering
George Dorsey Woodwind
George Duvivier Bass
George Marge Sax (Tenor), Woodwind
Grady Tate Drums
Hank Jones Flugelhorn, Trumpet
Harry Brewer Marimba, Castanets
J.J. Johnson Trombone
James Buffington French Horn
Jazz Interactions Orchestra Performer
Jerome Richardson Sax (Soprano), Woodwind, Sax (Tenor)
Jim Hall Guitar
Jimmy Cleveland Trombone
Jimmy Maxwell Trumpet
Jimmy Raney Guitar
Joe Newman Conductor, Trumpet, Flugelhorn
Joe Wilder Flugelhorn, Trumpet
Kenny Washington Selection, Sequencing
Lili Picou Layout Design
Marvin Stamm Trumpet
Michael Lang Supervisor
Milt Hinton Bass
Nat Adderley Cornet
Nichell Delvaille Design Coordinator
Osie Johnson Drums
Patti Bown Piano
Paul Faulise Trombone (Bass)
Peter Pullman Editing
Phil Bodner Vibraphone, Cello
Phil Kraus Cello, Percussion, Vibraphone
Phil Woods Woodwind, Sax (Alto), Flute
Quentin Jackson Trombone
Ray Alonge French Horn
Ray Copeland Trumpet
Richard Seidel Executive Producer
Rod Levitt Trombone (Bass)
Romeo Penque Woodwind
Ron Carter Bass
Sheryl Lutz-Brown Design, Director
Snooky Young Flugelhorn, Trumpet
Stan Webb Woodwind
Stanley Webb Woodwind
Tony Studd Trombone (Bass)
Urbie Green Trombone
Wayne Andre Trombone
Willie Dennis Trombone
Zoot Sims Woodwind, Sax (Tenor)
Considering that he was the equal of such heralded arrangers as Quincy Jones, Gil Evans, and Tadd Dameron, it's a shame Oliver Nelson has, for the most part, gone unsung. Maybe Nelson's eventual TV and film work tainted him in the eyes of critics and purists; but, then again, most jazz arrangers made that move, often out of sheer financial necessity -- and let's not scold them if it was simply a matter of wanting to expand their horizons. Before his Hollywood switch, though, Nelson used several '60s dates to not only display those pen skills, but to reveal his considerable saxophone chops (tenor, alto, and soprano!), as well. The fruits can be found on many dates for OJC, Impulse (the classic Blues and the Abstract Truth), and Verve. It's his work for the latter label that is nicely showcased on this collection. Covering the years 1962-1967 and culled to a large extent from his Full Nelson album and various Leonard Feather-sponsored releases, the 16 tracks here find Nelson at the helm of various big band lineups, plying his always swinging yet often complex and distinct sound. The mix contains a dazzling array of treats, including some of the most sophisticated jazz charts ("Patterns for Orchestra"), a taste of his later soundtrack work ("A Typical Day in New York"), beautiful ballads ("Penthouse Dawn"), and even some contemporary r&b-tinged fare ("Full Nelson"). Along with these and several other original pieces, Nelson also does fine by Ellington ("Paris Blues") and W.C. Handy ("St. Louis Blues"). And it's Joe Newman's fine solo on this last cut that ably demonstrates how Nelson, like Mingus, had a knack for bringing out the best in his players. With an all-star cast of players and plenty of fine sides to go, this Nelson roundup offers the perfect way to familiarize yourself with one of the great jazz architects of the '60s. ~ Stephen Cook, All Music Guide
Oliver Nelson
Active Decades: '50s, '60s and '70s
Born: Jun 04, 1932 in St. Louis, MO
Died: Oct 27, 1975 in Los Angeles, CA
Genre: Jazz
Styles: Soul-Jazz, Fusion, Post-Bop, Hard Bop, Modern Big Band, Mainstream Jazz, Soundtracks, Film Music
Oliver Nelson was a distinctive soloist on alto, tenor, and even soprano, but his writing eventually overshadowed his playing skills. He became a professional early on in 1947, playing with the Jeter-Pillars Orchestra and with St. Louis big bands headed by George Hudson and Nat Towles. In 1951, he arranged and played second alto for Louis Jordan's big band, and followed with a period in the Navy and four years at a university. After moving to New York, Nelson worked briefly with Erskine Hawkins, Wild Bill Davis, and Louie Bellson (the latter on the West Coast). In addition to playing with Quincy Jones' orchestra (1960-1961), between 1959-1961 Nelson recorded six small-group albums and a big band date; those gave him a lot of recognition and respect in the jazz world. Blues and the Abstract Truth (from 1961) is considered a classic and helped to popularize a song that Nelson had included on a slightly earlier Eddie "Lockjaw" Davis session, "Stolen Moments." He also fearlessly matched wits effectively with the explosive Eric Dolphy on a pair of quintet sessions. But good as his playing was, Nelson was in greater demand as an arranger, writing for big band dates of Jimmy Smith, Wes Montgomery, and Billy Taylor, among others. By 1967, when he moved to Los Angeles, Nelson was working hard in the studios, writing for television and movies. He occasionally appeared with a big band, wrote a few ambitious works, and recorded jazz on an infrequent basis, but Oliver Nelson was largely lost to jazz a few years before his unexpected death at age 43 from a heart attack.
---Scott Yanow, All Music Guide |
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