#olivernelson

The Blues and the Abstract Truth is an album by American composer and jazz saxophonist Oliver Nelson recorded in February 1961 for the Impulse! label. It remains Nelson’s most acclaimed album and features a lineup of notable musicians: Freddie Hubbard – trumpet Eric Dolphy – alto saxophone; flute Oliver Nelson – tenor & alto saxophone George Barrow – baritone saxophone Bill Evans – piano Paul Chambers – bass Roy Haynes – drums

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Album: “The Blues and the Abstract Truth” The Blues and the Abstract Truth is an album by American composer and jazz saxophonist Oliver Nelson recorded in February 1961.

This two-record set combines two seemingly unrelated sessions recorded for Cadet in the early ’60s. The earlier session features Oliver Nelson leading a large ensemble made of veterans like Phil Woods, Jerome Richardson, Grady Tate, and Snooky Young. The second LP is by Lou Donaldson, originally issued separately as Rough House Blues, with arrangements by Nelson.

Nocturne is an album by American saxophonist Oliver Nelson and vibraphonist Lem Winchester. It was originally released in 1961 on Prestige Records, as part of the “Moodsville Series”. As the title implies, Nocturne is a collection of mellow songs with relaxed, late-night feeling.

Personnel: Oliver Nelson – alto saxophone, tenor saxophone, clarinet Eric Dolphy – alto saxophone, bass clarinet, flute Richard Wyands – piano George Duvivier – bass Roy Haynes – drums

The AllMusic review by Michael G. Nastos gave the album 3½ stars and stated:” When the late President John F. Kennedy was assassinated on November 22, 1963, the world lost not only a prominent politician, but one who truly championed the arts and civil rights. In February of 1967, Oliver Nelson recognized Kennedy's contributions and assembled a big band to play music in his honor, with taped segments of his speeches as preludes. The result is a heartfelt yet eerie combination, perhaps a bit off-putting, but absolutely relevant decades later. The music is reflective of the changing times as identified by Nelson, ranging from commercial movie score-type music, to soulful or straight-ahead jazz, bop, and the modern big-band sound that the leader, composer, and orchestrator owned.”

Sextet – Screamin’ the Blues