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The Blues and the Abstract Truth

 
Album Review: The Blues and the Abstract Truth

  • Artist: Oliver Nelson
  • Rating: StarStarStarStarHalf Star
  • Release Date: February 23, 1961
  • Total Time: 36:24
  • Type: Instrumental
  • Genre: Jazz

Review

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

Tracks

Track TitleComposersPerformersTime
Stolen Moments [Live] Oliver Nelson Oliver Nelson (8:47)
Hoe-Down Oliver Nelson Oliver Nelson (4:44)
Cascades Oliver Nelson Oliver Nelson (5:32)
Yearnin' Oliver Nelson Oliver Nelson (6:24)
Butch and Butch Oliver Nelson Oliver Nelson (4:37)
Teenie's Blues Oliver Nelson Oliver Nelson (6:34)

Credits

Oliver Nelson (Sax (Alto)), Oliver Nelson (Liner Notes), Ellen Fitton (Mastering), Paul Chambers (?), Robert Flynn (Cover Design), Hollis King (Art Direction), Bill Evans (Piano), Freddie Hubbard (?), Rudy Van Gelder (Engineer), Roy Haynes (Drums), Paul Chambers (Bass), Roy Haynes (?), Creed Taylor (Producer), Joe Lebow (Liner Design), Freddie Hubbard (Trumpet), Bill Levenson (Reissue Supervisor), Pete Turner (Cover Design), Oliver Nelson (Arranger), Eric Dolphy (Flute), George Barrow (Sax (Baritone)), Cameron Mizell (Production Coordination), Oliver Nelson (Sax (Tenor)), Eric Dolphy (Sax (Alto)), Audrey Nelson (Photography), Isabelle Wong (Package Design)
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Wikipedia: The Blues and the Abstract Truth
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The Blues and the Abstract Truth
Studio album by Oliver Nelson
Released 1961
Recorded February 23, 1961
Genre Progressive jazz
Post-bop
Hard bop
Length 36:35
Label Impulse! Records
Producer Creed Taylor
Professional reviews
Oliver Nelson chronology
Afro/American Sketches
(1962)
The Blues and the Abstract Truth
(1961)
More Blues and the Abstract Truth
(1964)

The Blues and the Abstract Truth is a jazz album by Oliver Nelson recorded in February 1961. It remains Nelson's most acclaimed album. It features a lineup of notable musicians: Freddie Hubbard, Eric Dolphy (his last appearance on a Nelson album following a series of collaborations recorded for Prestige), Bill Evans (his only appearance with Nelson), Paul Chambers and Roy Haynes. Baritone saxophonist George Barrow does not take a solo but is a key feature of the subtle voicings of Nelson's arrangements.

The album is an exploration of the mood and structure of the blues, though only some of the tracks are in conventional 12-bar blues form. In this regard, though it is not modal jazz, it may be seen as a continuation of the trend towards greater harmonic simplicity and subtlety via reimagined versions of the blues that was instigated by Miles Davis's Kind of Blue in 1959 (Evans and Chambers played on both albums). Of the pieces on Nelson's album, "Stolen Moments" is the most famous; it is a sixteen-bar piece (in an eight-six-two pattern), though the solos are on a conventional 12-bar minor-key blues structure in C minor. "Hoe-Down" is built on a forty-four-bar structure (with thirty-two-bar solos based on "rhythm changes"). "Cascades" modifies the traditional 32-bar AABA form by using a 16-bar minor blues for the A section, stretching the form to a total of 56 bars. The B-side of the album contains three tracks that hew closer to 12-bar form: "Yearnin'", "Butch and Butch" and "Teenie's Blues".

Nelson's later album, More Blues and the Abstract Truth, features an entirely different band and bears little resemblance to this record.

In 2008, pianist Bill Cunliffe released "The Blues and The Abstract Truth, Take 2", a tribute to the original album featuring new arrangements.

Track listing

  1. "Stolen Moments"
  2. "Hoe-Down"
  3. "Cascades"
  4. "Yearnin'"
  5. "Butch and Butch"
  6. "Teenie's Blues"

(All tracks composed by Nelson.)

Performers

External links


 
 

 

Copyrights:

Album Review. Copyright © 2009 All Media Guide, LLC. Content provided by All Music Guide ®, a trademark of All Media Guide, LLC. All rights reserved.  Read more
Wikipedia. This article is licensed under the Creative Commons Attribution/Share-Alike License. It uses material from the Wikipedia article "The Blues and the Abstract Truth" Read more

 

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