Screamin' The Blues Oliver Nelson Sextet feat. Eric Dolphy

• 1 Screamin' The Blues 11:00
• 2 March On, March On 04:59
• 3 The Drive 05:49
• 4 The Meetin' 06:43
• 5 Three Seconds 06:25
• 6 Alto-Itis 04:58
• Total Runtime 39:54

Info zu Screamin' The Blues

Composer and saxophonist Oliver Nelson holds to his usual high caliber of writing and playing on 1960's „Screamin' The Blues“. Five of the six cuts are penned by Nelson (including the breakneck 'Alto-Itis' and the soul-jazz influenced 'The Meetin''). All the tunes mine a solid, blues-based bop feel, with memorable themes and plenty of room for the musicians to stretch out. Nelson's sax work is quite strong, his bright tone and uncluttered, lyrical approach soar over tight-knit backing from Roy Haynes (drums), George Duvivier (bass), and Richard Wyands (piano).

However, it is the presence of lead horns Richard Williams (trumpet) and the incomparable Eric Dolphy (on alto sax and bass clarinet) that really distinguishes „Screamin' The Blues“. Williams's technique (which owes a lot to Dizzy Gillespie) offers a nice tonal contrast to the complex interplay between Nelson and Dolphy. But while Nelson holds his own, Dolphy's elastic lines, witty interpolations, and stunningly fluid acrobatics ultimately steal the show.

Oliver Nelson, alto saxophone, tenor saxophone
Eric Dolphy, bass clarinet, alto saxophone
Richard Williams, trumpet
Richard Wyands, piano
George Duvivier, upright bass
Roy Haynes, drums

Recorded at the Van Gelder Studio, Engelwood Cliffs, New Jersey May 27, 1960, New York
Engineered by Rudy Van Gelder
Produced by Esmond Edwards
Digitally remastered

Oliver Nelson
Born June 4, 1932 in St. Louis, Oliver Nelson came from a musical family: His brother played saxophone with Cootie Williams in the Forties, and his sister was a singer-pianist. Nelson himself began piano studies at age six and saxophone at eleven. In the late Forites he played in various territory bands and then spent 1950–51 with Louis Jordan’s big band. After two years in a Marine Corps ensemble, he returned to St. Louis to study composition and theory at both Washington and Lincoln universities.

After graduation in 1958, Nelson moved to New York and played with Erskine Hawkins, Wild Bill Davis, and Louie Bellson. He also became the house arranger for the Apollo Theatre in Harlem. Though he began recording as a leader in 1959, Nelson’s breakthrough came in 1961 with The Blues and the Abstract Truth (Impulse), featuring an all-star septet that included Eric Dolphy, Bill Evans, and Freddie Hubbard. With the success of that deservedly acclaimed LP, Nelson’s career as a composer blossomed, and he was subsequently the leader on a number of memorable big-band recordings, including Afro-American (Prestige) and Full Nelson (Verve). He also became an in-demand studio arranger, collaborating with Cannonball Adderley, Johnny Hodges, Wes Montgomery, Jimmy Smith, Stanley Turrentine, and others.

During the Sixties, Nelson became one of the most strongly identifiable writing voices in jazz. In 1967, he moved to Los Angeles, where he became involved extensively in scoring for television and films. Though Nelson continued to write for jazz record dates and play (he focused on alto, tenor, and soprano saxophones at different times during the Sixties and Seventies), the demands of writing commercial music increased. The accompanying stress ultimately may have been his undoing; on October 28, 1975, he died suddenly of a heart attack. (Bill Kirchner) Excerpted from Oliver Nelson Verve Jazz Masters 48. (Source: Verve Music)

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