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| 1. | Stolen Moments
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| 2. | Hoe Down
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| 3. | Cascades
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| 4. | Yearnin'
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| 5. | Butch and Butch
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| 6. | Teenie's Blues
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Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey on February 23, 1961
Oliver Nelson alto & tenor saxophones
Eric Dolphy Alto Saxophone, Flute
George Barrow Baritone Saxophone
Freddie Hubbard Trumpet
Bill Evans Piano
Paul Chambers Bass
Roy Haynes Drums
Includes liner notes by Oliver Nelson.
Beautifully recorded and easily the best album of his career, which, early on, had included stints with Louis Jordan and Quincy Jones, and conducting and arranging for Jimmy Smith (notably `Walk On The Wild Side'). The personnel on this record is formidable and probably enhances the album's high standing - Eric Dolphy (alto and flute), Bill Evans (piano), Roy Haynes (drums), Freddie Hubbard (trumpet), George Barrow (baritone) and Nelson (alto, tenor and writer/arranger). Lush arrangements on tracks such as `Stolen Moments' are outstanding. It is hard to imagine that the man wholly behind this exceptional album was responsible for the Six Million Dollar Man television series theme.
This was Oliver Nelson's finest recording and one of the top jazz albums of 1961, a true classic. The lineup is an inspired one: Nelson on tenor and alto, Eric Dolphy doubling on alto and flute, a young trumpeter named Freddie Hubbard, baritonist George Barrow for section parts, pianist Bill Evans, bassist Paul Chambers, and drummer Roy Haynes. The contrasting voices of the soloists really uplift these superior compositions, which are highlighted by "Stolen Moments" (a future standard), the fun "Hoe Down," and "Yearnin'." Dolphy cuts everyone, but Nelson and Hubbard are also in top form.
---Scott Yanow, Courtesy All Music
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
Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey on February 23, 1961
Oliver Nelson alto & tenor saxophones
Eric Dolphy Alto Saxophone, Flute
George Barrow Baritone Saxophone
Freddie Hubbard Trumpet
Bill Evans Piano
Paul Chambers Bass
Roy Haynes Drums
Beautifully recorded and easily the best album of his career, which, early on, had included stints with Louis Jordan and Quincy Jones, and conducting and arranging for Jimmy Smith (notably `Walk On The Wild Side'). The personnel on this record is formidable and probably enhances the album's high standing - Eric Dolphy (alto and flute), Bill Evans (piano), Roy Haynes (drums), Freddie Hubbard (trumpet), George Barrow (baritone) and Nelson (alto, tenor and writer/arranger). Lush arrangements on tracks such as `Stolen Moments' are outstanding. It is hard to imagine that the man wholly behind this exceptional album was responsible for the Six Million Dollar Man television series theme.
* Audrey Nelson - Photography
* Bill Levenson - Reissue Supervisor
* Cameron Mizell - Production Coordination
* Creed Taylor - Producer
* Ellen Fitton - Mastering
* Hollis King - Art Direction
* Isabelle Wong - Package Design
* Joe Lebow - Liner Design
* Pete Turner - Cover Design
* Rudy Van Gelder - Engineer
As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues and the Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic "Stolen Moments," but on this recording, assembling one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass), and Roy Haynes (drums) can do no wrong as a rhythm section. "Stolen Moments" really needs no comments, as its undisputable beauty shines through in a three-part horn harmony fronting Hubbard's lead melody. It's a thing of beauty that is more timeless as the years pass. The "Blues" aspect is best heard on "Yearnin'," a stylish, swinging, and swaying downhearted piece that is a bluesy as Evans would ever be. Both "Blues" and "Abstract Truth" combine for the darker "Teenie's Blues," a feature for Nelson and Dolphy's alto saxes, Dolphy assertive in stepping forth with his distinctive, angular, dramatic, fractured, brittle voice that marks him a maverick. Then there's "Hoedown," which has always been the black sheep of this collection with its country flavor and stereo separated upper and lower horn in snappy call-and-response barking. As surging and searing hard boppers respectively, "Cascades" and "Butch & Butch" again remind you of the era of the early '60s when this music was king, and why Hubbard was so revered as a young master of the idiom. This CD is a must buy for all jazz collectors, and a Top Ten-Fifty favorite for many.
--- Michael G. Nastos, All Music Guide |
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