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| 3.726 Ft
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| 1. | Let the Word Go Forth
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| 2. | A Genuine Peace
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| 3. | The Rights of All
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| 4. | Tolerance
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| 5. | The Artists' Rightful Place
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| 6. | Jacqueline
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| 7. | Day in Dallas
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| 8. | John Kennedy Memory Waltz
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Jazz / Post-Bop, Hard Bop
Oliver Nelson - Arranger, Conductor, Composer
Andy Kman Production Coordination
Bob Arnold Engineer
Bob Thiele Producer
Charles Stewart Photography
Don Butterfield Tuba
George Duvivier Bass
George Hoefer Liner Notes
Grady Tate Drums
Hank Jones Piano
Harry Weinger Reissue Supervisor
Hollis King Art Direction
Isabelle Wong Design
Joe Lebow Liner Design
John F. Kennedy Vocals
Kevin Reeves Mastering
Large Orchestra
Phil Bodner Horn (English)
Phil Woods Sax (Alto)
Robert Flynn Cover Design
Victor Kalin Cover Painting
Ever passionate about politics, Oliver Nelson here launches eight heartfelt orchestral jazz compositions from memorable sections of John Kennedy's speeches about equality and positive change. Nelson is occasionally heard singing on soprano and tenor. But one's attention is inevitably drawn to Nelson's compositional ability, particularly with strings. "The Rights of All," "Let the Word Go Forth" and "The Artists' Rightful Place" are standout pieces that also allow an opportunity to savor some of the fine talent: Phil Woods, Hank Jones, George Duvivier and Grady Tate. ~ Douglas Payne, 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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