JSngry

Depends on the desired rhythmic flow relative to the context of whatever else is being said on either end of the word.

Wow...did not realize Absract Truth and Straight ahead were recorded less than a week apart. That makes for a very interesting dynamic for both dates.

After finding Doug Payne's online discography, "Oliver Nelson On Prestige" has turned out to cover more material than I had imagined. I've had to order three Gene Ammons albums (just to get one session), two more Etta Jones (one of them another larger ensemble record, who knew?) and single dice by Clark Terry and Frank Wess. There are also several items that will probably be found the old fashioned way, by digging in various nooks and crannies, cyber and otherwise. http://dougpayne.com/on51-66.htm

Frequently.

I remember liking it just fine, haven't listened in a while. Didn't they do"Tippin' In" on that one?

Also in that same issue, in the back where the "educational " stuff was (is?) is an article about how to produce a record, where he would recounted producing that Drum Session, about which it should be noted that it was A3-LP Set in Japan, and about which it could be noted that Nuyorican Soul's "The Nervous Track" consists of massive and masterful reconstructions of samples from that album, and once you've heard both often enough is enriching as hell if you're so inclined.

Down Beat, April 24, 1975, page 10. New Hope For The Abstract Truth by Dr. William J. Fowler, the very opening line The actual quote comes at the end of a flow of thouht, but that is the quote. And it is the opening line of the article. I was wrong about the dominant chord thing, though. Here's the exact quote: So,, Subdominant chord. My quote is funnier, but it's not based on an Oliver Nelson quote. The whole article is worth a resd. He's still talking about lead alto, how important that was to him coming up, not learning Bird links, but getting a big sound that could lead a section. He was a Marine, you know.

Willie and the Po' Boys The Earl of Sandwich Ruben and the Jets

With Trane, right? Wondering how much the initial Edwards-suggested impetus to create an album along the "African" theme was an immediate response to Africa/Brass, and whether or not Dolphy and Nelson had conversations about that one, you know, just talking shop. Something for idle speculation I suppose, but either way, Art Davis. I love Nelson's response when asked to do an African themed album, that he didn't know anything about Africa or its music, and then how he dryly notes that all of the records he was given to study were claimed to be by the most violent tribes, ALL of them, and then how he gradually etc. VERY dry commentary. Of course, this is the same guy who would later tour Africa and come back to say that he didn't hear any jazz roots in Africa, everything sounded like James Brown, and who a few years later said thank god for slavery, it gave the Black man the Dominant chord, and just all kinds of things that were either hopessly ignorant or else really layered, and Oliver Nelson did not seem like a hopelessly ignorant man.

Never underestimate the human capacity to live multiple lives simultaneously. Never.

Back to the quote function...my gone deftly gets weird when an upper-case "I " gets involved in a way that it does not when making a straight post. Just putting that out there. But my phone is old, and the board software is new, so...who knows?

Ed Shaughnessy is a gas on this record, as is Art Davis...where was Dolphy in Fall 1961?

Intersting, maybe, is that the only other Nelson big band album where Nelsons playing is as fully up front as much as this one is Black, Brown, and Beautiful (the real one), although that is very different music and only sometimes "big band". In either case, though, very personal statements about very personal concerns, one full of what is essentially a hopeful look at the past leading forward, the other a very stinging look at the present where whatever hope there might be would be that things have gotten as bad as they're going to get.

Revisiting this one today, great writing, really great, and the apparent logistical choice to make Nelson himself the focal point as soloist throughout would turn out to be, sadly, a rarity In his big band canon. Also had a listen today to Johnny Hammond Smith's Talk That Talk with Nelson on three cuts. Now I can say I've heard It...

That Creed Taylor production ethos is not to be dismissed either. And on top of that, it's just a damn great record. But those two Prestige sides with Dolphy...just as great, if not as "iconic".

Well I'll be damned!

Fred Couples Don Maitz Leon Breeden

Been spending the last few days with a lot of listens to these two. Both are near-perfect in a way that Blues And The Abstract Truth would be, with a certain...rawness that that one of almost necessity would not have, not as much, anyway. Screamin' The Blues is the more "controlled" of the two, all things considered, but Richard Williams adds some real zest to the proceedings, solos and ensemble. But holy shit, Straight Ahead...holy shit. Nelson is like granite ok, like granite that's way up there on the Richter scale. This might be his most consistently intense, most..."extroverted" playing on record ("Ralph's New Blues" is freakin' dangerous). And Dolphy, yeah, Dolphy wasn't going off the rails, he was lifting them off the ground! Always like coming back to these two every few years, new rewards every time, no exceptions!

World B. Free I.M. Pei Remington Steele

Sandy Koufax King Kolax Teddy Kotex (with apologies to Pee Wee Marquette)

Rooster Cogburn Doug Rader Howlin' Wolf

Where did they find that lost, soundless film footage of Bird that just kinda popped up one day, was that from Granz' holdings directly, or those of an acquaintance?

Big P Little Bird Tootie

It is. Both this and Phaedra were UA-related films. Phaedra had an original soundtrack by Mikis Theodorakis that was also released on UA Records. Doesn't look as if A Taste Of Honey had an OST album released at the time.

Kym and Tonya Illman Laurence Sickman Medicine Man