Oliver+nelson

Oliver Nelson - Taking Care Of Business (1960) {Prestige-New Jazz OJCCD-1784-2 rel 1991}
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© 1960, 1991 Prestige/New Jazz Records / Fantasy | OJCCD-1784-2
Jazz / Hard Bop / Saxophone

Oliver Nelson would gain his greatest fame later in his short life as an arranger/composer, but this superior session puts the emphasis on his distinctive tenor and alto playing. In a slightly unusual group (with vibraphonist Lem Winchester, organist Johnny "Hammond" Smith, bassist George Tucker, and drummer Roy Haynes), Nelson improvises a variety of well-constructed but spontaneous solos; his unaccompanied spots on "All the Way" and his hard-charging playing on the medium-tempo blues "Groove" are two of the many highpoints. Nelson remains a vastly underrated saxophonist and all six performances (four of them his originals) are excellent.

Oliver Nelson with Joe Newman - Main Stem (1961) {Prestige OJCCD-1803-2 rel 1992}
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© 1961, 1992 Prestige / Fantasy | OJCCD-1803-2
Jazz / Hard Bop / Saxophone / Trumpet

A relaxed small group session from saxophonist Oliver Nelson – a record that's quite different than some of his more tightly arranged dates, and a good reminder of this side of his talents! Oliver plays both alto and tenor sax on the album, and he's joined by a perfect group for the easy rolling groove of the tracks – Joe Newman on trumpet, Hank Jones on piano, George Duvivier on bass, and Charlie Persip on drums – plus a young Ray Barretto on congas, who brings in the loping, stepping groove you find on other early 60s soul jazz sets of this nature. Nelson's sax is always a treat – blown with a sharper edge than you might hear with a big group – and the tracks are all quite fress too, and include "Tipsy", "Mainstem", "Ho!", "J&B", and "Latino".

Oliver Nelson (on tenor and alto sax) meets Eric Dolphy (alto, bass clarinet and flute) on this frequently exciting sextet session with trumpeter Richard Williams, pianist Richard Wyands, bassist George Duvivier, and drummer Roy Haynes. Although Dolphy is too unique and skilled to be overshadowed in a setting such as this, Nelson holds his own. He contributed five of the six compositions (including "Screamin' the Blues," "The Meetin'," and "Alto-Itis") and effectively matches wits and creative ideas with Dolphy.

Nancy Wilson & Oliver Nelson - Welcome to My Love (1967) {Capitol Jazz CDP 8289802 rel 1994}
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© 1967, 1994 Capitol Jazz | CDP 7243 8 28980 2 3
Jazz / Classical Jazz / Vocal Jazz / Standards

Most of Nancy Wilson's late '60s releases contained four or five good tunes and the rest would be filler from the day's batch of B-grade pop material. Her 1967 date Welcome to My Love, though, is an exception. It offers a consistent selection of high-quality standards and strong contemporary material impressively set off by Oliver Nelson's soulfully urbane arrangements. On the subdued end there are straightahead ballads like "May I Come In" and "It Never Entered My Mind" as well as more soul-tinged numbers such as "Welcome to My Love" and "Let's Make the Most of a Beautiful Thing." Wilson's smoky, whispered voice imparts just the right amount of tender drama here while Nelson's dark and restrained string charts keep things from getting syrupy.

Leon Thomas & Oliver Nelson - In Berlin (1970) {RCA Victor 09026638772 rel 2002}
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© 1970, 2002 Flying Dutchman / Bluebird / RCA Victor / BMG | 09026638772
Jazz / Post Bop / Afro-Cuban Jazz / Soul Jazz

"Leon Thomas in Berlin" is an excellent example of the work of this almost forgotten vocalist. Thomas was very much a maverick in terms of his singing style, his use of the yodel and other effects turned his voice very much into another frontline musical instrument in much the same manner as scat was used by earlier singers . The lasting impression given by this is of a highly Afro - American form of the idiom which was much in fashion in the late 60's and early 70's. In many ways it is a great pity that this vibrant music has fallen so far from grace to be replaced by the mainstream conservatism that is so omni-present in a great deal of the performances which define Jazz at the present time.

Oliver Nelson had recorded several sessions for Prestige when the fledgling Impulse! label gave him the opportunity to make this septet date in 1961. The result was a rare marriage between an arranger-composer's conception and the ideal collection of musicians to execute it. The material is all based somehow on the blues, but Nelson's structural and harmonic extensions make it highly varied, suggesting ballads, hoedowns, and swing. The band is one of those groupings that seem only to have been possible around 1960, a roster so strong that the leader's name was actually listed fourth on the cover. Nelson shares the solo space with trumpeter Freddie Hubbard, alto saxophonist and flutist Eric Dolphy, and pianist Bill Evans, while bassist Paul Chambers and drummer Roy Haynes contribute support and baritone saxophonist George Barrow adds depth. In stark contrast to Dolphy's brilliant, convulsive explosions, Nelson's tenor solos are intriguingly minimalist, emphasizing a tight vibrato and unusual note choices. It's not quite Kind of Blue (nothing is), but Blues and the Abstract Truth is an essential recording, one that helped define the shape of jazz in the '60s. ~ Amazon