The composition "Stolen Moments" has been recorded and performed by numerous musicians including Phil Woods, J. It was voted number 333 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000). The Jazz Journal International cited the album as "one of the essential post-bop recordings." Dolphy gets off some good solos too, his most interesting one on "Yearnin '". Hubbard steals the solo honors with some of his best playing on record. Nelson's playing is like his writing: thoughtful, unhackneyed, and well constructed. Writing in the December 21, 1961, issue of DownBeat magazine jazz critic Don DeMicheal commented: Nelson's later album, More Blues and the Abstract Truth (1964), features an entirely different (and larger) group of musicians and bears little resemblance to this record. The B-side of the album contains three tracks that hew closer to the 12-bar form: "Yearnin'", "Butch and Butch" and "Teenie's Blues" (which opens with two 12-bar choruses of bass solo by Chambers). "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. "Hoe-Down", inspired by the fourth section of Aaron Copland's Rodeo, is built on a 44-bar structure (with 32-bar solos based on rhythm changes). Music Īmong the pieces on the album, " Stolen Moments" is the best known and has become a jazz standard: a 16-bar piece with solos in a conventional 12-bar minor blues structure in C minor. The album is often noted for its unique ensemble arrangements and is frequently identified as a progenitor of Nelson's move towards arranging later in his career. Baritone saxophonist George Barrow does not take solos but remains a key feature in the subtle voicings of Nelson's arrangements. It remains Nelson's most acclaimed album and features a lineup of notable musicians: Freddie Hubbard, Eric Dolphy (his second-to-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. It continues to be performed frequently to this day and its minor blues form makes it a popular choice for jam sessions.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. Many other notable musicians would record this piece from the likes of Ahmad Jamal, Herbie Mann, and Carmen McRae to name a few. Oliver Nelson would record the song himself 5 months later on the album The Blues and the Abstract Truth with a stellar line-up consisting of Eric Dolphy, Freddie Hubbard, Bill Evans, Paul Chambers, and Roy Haynes, and this is often regarded as the definitive version of the tune. It was first recorded by Eddie "Lockjaw" Davis as "The Stolen Moment" on his album Trane Whistle in 1960. This song has been recorded over 130 times to date. The B section features min11 chords moving chromatically in parallel motion, and although in practice bars 5-8 of the B section tend to also be treated with mi11 chords, the original recording by Nelson features Dmi11 - Ebdim7 - C7/E - Fmi7. Lead sheets often fail to mention that the melody resolves to Major on beat 3 of the 4th bar. While the solo form simply takes place over a minor blues, the melody and head arrangement feature some unique devices and rich voicings. The harmony of this composition is rather sophisticated. The solo forms take place over a standard 12 bar minor blues with a bVI7 - V7 turnaround. Swing, usually played at a medium slow tempo.Īn introduction moving through Imi7 - IImi7/I - bIIIMaj7/I - IImi7/I is often included to begin performances, and the head is typically played twice on the way in and out.
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