Customer Reviews

Screamin the Blues

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What a shame that the men on this front line are all long since departed. Take the impeccable taste of Nelson's tenor and his compositional and arrangement talents, the boundless creativity of Eric Dolphy's alto, and the vastly underrated power of Richard Williams's trumpet, and you have all the ingredients for a powerhouse recording. "Screamin' the Blues" proves to be just that.

If you're familiar with Nelson's wonderful "Blues and the Abstract Truth" recording, you'll be surprised by "Screamin' the Blues," which is much earthier and much hotter. Williams's trumpet, for example, is scorching throughout, particularly on "March On, March On," and "The Meeting," a great excursion back to the church. Contrast his playing with Freddie Hubbard's on "Blues and the Abstract Truth." They're both great, but Williams will raise you out of your seat a couple of extra notches.

Dolphy, as was the case on "Blues and the Abstract Truth," is in superb control here without ever losing his edge. His fiery playing contrasts well with Nelson's controlled heat.

"Altoitis" is a great closer, a tribute to three departed giants, who testify on their horns for all they're worth. Savor every second of this release and don't be afraid to go ahead and scream your approval for these jazz/bluesmen.

I bought this cd because I knew Eric Dolphy was on it but at the time I had never heard Oliver Nelson. SCREAMIN' THE BLUES is the absolute perfect title for this cd and it's title-track. Nelson reminds me of a simplified version of Cannonball Adderley (though Adderley didn't play tenor), or maybe of a more soulful version of a 1950's R&B saxophonist. Oliver could have been the star musician at the school dance in the movie BACK TO THE FUTURE.

Nelson's tenor just oozes the blues on the title track! I'm not really knowledgeable on Church or Gospel music but my nickname for the title-track on this cd is the "Take-me-to-church track!". Richard Williams is the trumpet version of Nelson, just absolutely soul-deep in the blues tradition.

THE MEETIN' has a very ghostly, spiritiual Dolphy solo. The world lost something huge when Eric died and took that gorgeous tone with him.

Then to top it off, you get to hear both Nelson and Dolphy cut loose on their alto's on ALTO-ITIS. Two very different styles... Dolphy with his "slurred swing" style and Nelson with his "deep blues traditional" style, but the differences in style and similarities in emotional depth make them a great team.

This cd really surprised me, I never expected it to be as great as it is.

O.K. First of all BLUES AND THE ABSTRACT TRUTH was one of those MUST LISTEN JAZZ ALBUMS... you know, the kind you listen to and it just throws you into another world... And who could even imagine JAZZ without STOLEN MOMENTS... you walk away from that album thinking, "Woe, what a genius arranger and composer Nelson was,"- - SCREAMIN THE BLUES to me, made me more aware of his blowing ability - - atleast what I really got out of it was hearing Oliver Nelson, the deep and tasty enlightened minimalist (very intervallistic and triadic solo style) next to the wild and untamed Eric Dolphy (John Coletrane on Jolt Cola)... They're such contrasts, yet in many ways they're doing the same thing and saying it differently. Then you have the variety of songs (The Drive is a fave.) - - Minor Blues, Soul Jazz, a blues March, heavy swinging hard bop... and the title cut which is reminiscent of a Louis Jordan type thing. (Then I read the cover notes and found out Oliver Nelson started out playing with Louis Jordan, and had played for Quincy Jones.) Well... I won't even describe the other elements (Richard Williams, Richard Wyands, George Duvivier and Roy Haynes), because I only have 1,000 words... This is a great album... file it next to those Art Blakey & The Jazz Messengers CDs ! It will relax you and tire you out at the same time !

The third Prestige recording by Oliver Nelson (May 1960) and a real beauty. Eric Dolphy is present for the first time, and he definitely makes his presence known (and felt). The title track is a slow blues with Dolphy on bass clarinet, and it's a gem. It's hard to find anything wrong with this CD - the tempos are varied, the tunes are attractive, and the all-important rhythm section [Richard Wyands (p) George Duvivier (b) Roy Haynes (d)]is up to the task, to say the least. Richard Williams, a modern trumpeter from Texas (he died in 1985) was heavily on the NYC scene in the '60s and '70s, especially with Charles Mingus, and his warm and sure approach is a big plus here. A very solid album.

This my favorite jazz album, and I have heard over 1000. It is very bluesy, agressive, and laid back all at the same time. The title track runs over 10 minutes to open the album and it's very powerfull. This is Oliver Nelson's third album for prestige recorded in May of 1960. In general, 1960 was a very busy and successful year for Nelson (1932-1975) as he released three albums that year. "Taking Care Of Business" (3/22/60), "Screaming The Blues" (5/27/60), and "Soul Battle" (9/9/60) which features King Kurtis and Jimmy Forrest on tenors along with Nelson. All three are equally different and spectacular. Back to Screaming the Blues, Eric Dolphy is featured for the first time with Nelson. He plays alto sax and bass clarinet. What can I say, Dolphy is Dolphy and there is no one like him, if you havent heard him at all this record is a less complex introduction to what he is capable of. A surprising guest on trumpet throughout the album is Richard Williams who also had a very busy and successful year in 1960. Since I heard this record I have done everything within my powers to obtain every album that Richard Williams has recorded on. His playing is very powerful and accurate. His capabilities are enormous and I love the way he expresses himself. He is consistant on this record, and Nelson gives him plenty of room to solo. The rytham section of Richard Wyands on piano (great talent), George Duviver on bass and Roy Haynes on drums is as good as any in jazz. It may not be the best jazz album ever recorded, but it is my favorite and I think anyone that has a true appreciation for blues and/or jazz should listen to it. Be sure to play it loud if you do!

This is a precursor to Oliver Nelson's greatest moments, one which sounds to this reviewer as if all the players were playing different music. At the heart of the problem is Roy Haynes (a wonderful drummer, but not here), whose feel, especially in his ride symbol pattern, is far too stiff for the bluesy nature of the recording. The title piece is very difficult to listen to for this reason, while some of the other blues-oriented numbers find him sounding hesitant and unschooled. Also, despite their passionate contributions, Eric Dolphy (alto sax and bass clarinet) and Richard Williams (trumpet) are not a good contrast. And without a drummer who can ground their differences, the whole thing suffers. Williams plays in a very straight-ahead style, staying within the feel of a blues-drenched bop. Eric extends himself all over the map, playing his full-tilt, post-bop style without any context. He's much better on Blues and the Abstract Truth. Oliver solos well but without the inspiration he shows elsewhere. Wyands and Duvivier are just there.

The listener would do better to get one of the true classics. For the jazz fan, go for Blues and the Abstract Truth or for More Blues and the Abstract Truth, both great albums. If you want gut-busting blues, go for the rare but truly essential Live in Los Angeles, which features a powerhouse big band, an electric guitarist who plays blues as if it was his last night on earth, and some of the most inspired and energetic playing I have ever heard.

This is a precursor to Oliver Nelson's greatest moments, one which sounds to this reviewer as if all the players were playing different music. At the heart of the problem is Roy Haynes (a wonderful drummer, but not here), whose feel, especially in his ride symbol pattern, is far too stiff for the bluesy nature of the recording. The title piece is very difficult to listen to for this reason, while some of the other blues-oriented numbers find him sounding hesitant and unschooled. Also, despite their passionate contributions, Eric Dolphy (alto sax and bass clarinet) and Richard Williams (trumpet) are not a good contrast. And without a drummer who can ground their differences, the whole thing suffers. Williams plays in a very straight-ahead style, staying within the feel of a blues-drenched bop. Eric extends himself all over the map, playing his full-tilt, post-bop style without any context. He's much better on Blues and the Abstract Truth. Oliver solos well but without the inspiration he shows elsewhere. Wyands and Duvivier are just there.

The listener would do better to get one of the true classics. For the jazz fan, go for Blues and the Abstract Truth or for More Blues and the Abstract Truth, both great albums. If you want gut-busting blues, go for the rare but truly essential Live in Los Angeles, which features a powerhouse big band, an electric guitarist who plays blues as if it was his last night on earth, and some of the most inspired and energetic playing I have ever heard.