This entire album is just drenched in SOUL!!!Oliver Nelson is still an unsung jazz hero(as are many others)He's in that category of "what might he be doing today"
Thanks for identifying the soloists by screen image. In this case, you have three very distinctive styles, but it's a good idea and very useful for the jazz fan who wants to learn more. I'm quoting your intro to this video in my blog entry (Listening to Prestige) on this album.
Very Cool, Larry. I remember that you were a musician here in Springfield, years ago. Now you're a tremendous artist… I used to do both art and music too. Six years of commercial art and studio art in colleges, 55 years in music performance and about fifteen years in commercial art work. You're a close friend with my buddy, Ed Gehlbach as I recall. He's now studying the heck out of piano.
When I was a young player, maybe 20 yrs old, I heard King Curtis and then tried to emulate some of the stuff he was doing on rock and roll records… probably a Dulaney and Bonnie album.
I played a set with King Curtis one night while I was in Canada. I was the only white guy in an all-black Jamaican Rock-steady band. Some interesting times.
I can top that...I can remember a night in Canada playing with cannonball adderley ...we went there somewhere in the arctic circle ostensibly to play a gig but the real reason was that cannonball(we called him cannibal) had made a bet that he could eat a whole roast walrus...he lost the bet not that he couldn't have eaten a whole roast walrus but the problem was that the eskimos ate their walrus raw...not that they preferred raw walrus to cooked...but you see they didn't have ovens large enough to hold a walrus in an igloo or anywhere else for that matter...needless to say we were the only non eskimo musicians in the igloo(it was a very large one)...what I remember best was getting high smoking walrus whiskers from a pipe made from a walrus tusk and digging the aura borealis...yusef lateef who was with the band at that time made a flute from the other tusk and we all had a ball dancing and playing around the north pole...they (the eskimos) called it the north pole blues...ps cannonball claimed he would have eaten the walrus if there had been any horseradish...
I have this album, and while the liner notes don't cover this tune because it's a bonus track, it sounds to me that King Curtis takes the first solo, then Jimmy Forrest and then Oliver Nelson. That's assuming that the linear notes correctly identified the soloists through the album. That said, the second solo (which, I believe to be Forrest's) is my favourite on this tune.
If so, the liner notes must be wrong, because the first soloist on this track is without a doubt the third soloist on track two Blues for M.F. which the liner notes identify as King Curtis.
@Damian: Wilson's notes are confusing. His reference to "Chronologically" refers to stylistic tendencies in the jazz idiom and not the order of soloists. Trust your ear, which seems good. Hint: Oli sounds like an alto and is always in the left channel. Jimmy is always in the left channel and Curtis, with that magnificent projection, is always in the right channel.
@postatility what do you mean "unsung" man? "The Blues and the Abstract Truth" is a classic. In the collection of most every jazz aficcionado. Many should be so lucky.
Archimboldi C. I'll look into it, but to my ears the first soloist is King Curtis. He had extremely fast and crisp articulations and could simply eat up changes with streams of notes--executing like a champion bebopper. Jimmy is closer to the great tenors of the swing era--Hawk and Ben. He loves to take a single note and bend it, play alternate fingerings, etc. For him, it's more about "how" a note is played than the number of notes played. When I caught Basie in the '70s (without Lockjaw), Forest and Al Grey were the 2 outstanding soloists in the band. Of course, about the 3rd soloist there can be no doubt. Oliver loved to push the changes, never completely outside--like Eric Dolphy (with whom he made 3 albums)--but enough to make him the master of tension and release. (The best example on this album, as I recall from the LP, is "Perdido," which is one of his most daring and memorable solos on record.)
+caponsacchi I saw Basie's band at Carnegie Hall in the 70s, and for me the guys who stood out were also Al Grey and Jimmy Forrest! (Unfortunately the Count himself was ill that night. Nat Pierce, no slouch himself, took his place.) Grey's enormous smile lit up the hall all the way back to our balcony seats, even when he was just sitting in the section. And no question that Oliver was always recognizable.
+Archimboldi C. I didn't want to give it away, but see NAFTALI2 for the correct order. If you get the CD and listen to it just twice, you'll always be able to recognize them.
Believe I have this on CD, now have to look for it. 🙄
This is the BEST SAX. I have ever heard and at 85 years I have many in my years.
This entire album is just drenched in SOUL!!!Oliver Nelson is still an unsung jazz hero(as are many others)He's in that category of "what might he be doing today"
jimmys out of sight,thank god for youtube. every thing i need to see and hear is all here.swingin.
Three underrated sax players. They're all 'sick' (and that's good:))
@DYNODRUM Amen, Oliver Nelson is one of the best. Specially special rendition of the shadow of your smile, its of of the best version I ever heard...
Thanks for identifying the soloists by screen image. In this case, you have three very distinctive styles, but it's a good idea and very useful for the jazz fan who wants to learn more. I'm quoting your intro to this video in my blog entry (Listening to Prestige) on this album.
Excellent!!!!!!
Thank you. Love me some Jimmy Forrest and Oliver Nelson, too!
Roy Haynes！Grooooovy!!!
Who are the people, who gave it thumbs down? They have no soul!!!!!
I'm little late but I totally agree with your notes about the solos.
agree about the shadow, the best for me too.blew my mind
A groovy soul of jazz!!!
Very Cool, Larry. I remember that you were a musician here in Springfield, years ago.
Now you're a tremendous artist… I used to do both art and music too. Six years of commercial art and studio art in colleges, 55 years in music performance and about fifteen years in commercial art work. You're a close friend with my buddy, Ed Gehlbach as I recall. He's now studying the heck out of piano.
Don't Fool WITH these Guys for Blues and such.They got Their Own....
Nice groove
Do a TH-cam search on Jimmy Forrest and listen. His sound is unmistakable.
Jimmy Forrest!!
THANK YOU
Who is playing in this great rhythm section. They are the backbone of this session-quiet as kept.
Oliver Nelson, King Curtis, Jimmy Forrest - tenor saxophone
Gene Casey - piano
George Duvivier - bass
Roy Haynes - drums
The first solo is Jimmy Forrest.
Yes! So is the one before the second.
When I was a young player, maybe 20 yrs old, I heard King Curtis and then tried to emulate some of the stuff he was doing on rock and roll records… probably a Dulaney and Bonnie album.
I played a set with King Curtis one night while I was in Canada. I was the only white guy in an all-black Jamaican Rock-steady band. Some interesting times.
I can top that...I can remember a night in Canada playing with cannonball adderley ...we went there somewhere in the arctic circle ostensibly to play a gig but the real reason was that cannonball(we called him cannibal) had made a bet that he could eat a whole roast walrus...he lost the bet not that he couldn't have eaten a whole roast walrus but the problem was that the eskimos ate their walrus raw...not that they preferred raw walrus to cooked...but you see they didn't have ovens large enough to hold a walrus in an igloo or anywhere else for that matter...needless to say we were the only non eskimo musicians in the igloo(it was a very large one)...what I remember best was getting high smoking walrus whiskers from a pipe made from a walrus tusk and digging the aura borealis...yusef lateef who was with the band at that time made a flute from the other tusk and we all had a ball dancing and playing around the north pole...they (the eskimos) called it the north pole blues...ps cannonball claimed he would have eaten the walrus if there had been any horseradish...
@tonespinner You can make that argument for Nelson as a composer. But as a player, is most certainly unsung.
1st Forrest,2nd Curtis,3rd Nelson.. King Curtis (1962) "Sounds good kid".
I have this album, and while the liner notes don't cover this tune because it's a bonus track, it sounds to me that King Curtis takes the first solo, then Jimmy Forrest and then Oliver Nelson. That's assuming that the linear notes correctly identified the soloists through the album. That said, the second solo (which, I believe to be Forrest's) is my favourite on this tune.
Solo 1: Jimmy Forrest
Solo 2: King Curtis
Solo 3: Oliver Nelson
@tonespinner Where did I say 'unsung?'
This
Is
Soul
It's Jazz.
@@michavandam No contradiction intended. I used "Soul" as a descriptor, NOT to denote a separate genre of music.
If so, the liner notes must be wrong, because the first soloist on this track is without a doubt the third soloist on track two Blues for M.F. which the liner notes identify as King Curtis.
holy damn cow....
nelson chorus begins a little like in four and six with dolphy..
@Damian: Wilson's notes are confusing. His reference to "Chronologically" refers to stylistic tendencies in the jazz idiom and not the order of soloists. Trust your ear, which seems good. Hint: Oli sounds like an alto and is always in the left channel. Jimmy is always in the left channel and Curtis, with that magnificent projection, is always in the right channel.
@postatility what do you mean "unsung" man? "The Blues and the Abstract Truth" is a classic. In the collection of most every jazz aficcionado. Many should be so lucky.
👍👍👍👍👍👍
@tonespinner
My bad. :-)
@NAFTALI2 'twasn't you, it was postatility. At least we all enjoy this music and this great tradition (jazz)
so whats the order of the solos?, to me jimmy forrest is the 1st and then king curtis
Archimboldi C. Correct.
Archimboldi C. I'll look into it, but to my ears the first soloist is King Curtis. He had extremely fast and crisp articulations and could simply eat up changes with streams of notes--executing like a champion bebopper. Jimmy is closer to the great tenors of the swing era--Hawk and Ben. He loves to take a single note and bend it, play alternate fingerings, etc. For him, it's more about "how" a note is played than the number of notes played. When I caught Basie in the '70s (without Lockjaw), Forest and Al Grey were the 2 outstanding soloists in the band. Of course, about the 3rd soloist there can be no doubt. Oliver loved to push the changes, never completely outside--like Eric Dolphy (with whom he made 3 albums)--but enough to make him the master of tension and release. (The best example on this album, as I recall from the LP, is "Perdido," which is one of his most daring and memorable solos on record.)
caponsacchi -- Nope. Forrest, Curtis, Nelson.
+caponsacchi I saw Basie's band at Carnegie Hall in the 70s, and for me the guys who stood out were also Al Grey and Jimmy Forrest! (Unfortunately the Count himself was ill that night. Nat Pierce, no slouch himself, took his place.) Grey's enormous smile lit up the hall all the way back to our balcony seats, even when he was just sitting in the section. And no question that Oliver was always recognizable.
+Archimboldi C. I didn't want to give it away, but see NAFTALI2 for the correct order. If you get the CD and listen to it just twice, you'll always be able to recognize them.
THANK YOU