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| Screamin' the Blues |
| Oliver Nelson |
| első megjelenés éve: 2006 |
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| (2006)
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CD |
| 3.228 Ft
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| 1. | Screamin' The Blues
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| 2. | March On, March On
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| 3. | The Drive
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| 4. | The Meetin'
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| 5. | Three Seconds
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| 6. | Alto-itis
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Jazz
with Richard Williams, Eric Dolphy, Richard Wyands, George Duvivier, Roy Haynes
Posterity remembers Oliver Nelson (1932-1975) primarily as an arranger/conductor. When he first began to attract attention with a series of albums for Prestige and its subsidiaries, however, Nelson was hailed as a versatile leader of small groups and a composer/instrumentalist who could refresh the music's traditional verities while also looking ahead. There is no better showcase for these skills among his initial sessions than Screamin' the Blues, a rousing set of funky modernism interpreted by a sextet of players who shared Nelson's allegiance to both virtuosity and vision. The pairing of saxophonist Eric Dolphy with Nelson was particularly inspired as both men were adept on more than one instrument, and allowed this sextet to create an uncommon diversity of colors. Nelson and Dolphy would reunite a year later on both the classic Blues and the Abstract Truth and (with the band heard here minus trumpeter Richard Williams) on the looser yet intense Straight Ahead.
"I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger."
---Rudy Van Gelder
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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