Track Listings (6) - Disc #1| All Artists: Oliver Nelson Title: Screamin' the Blues Members Wishing: 1 Total Copies: 0 Label: Universal Japan Release Date: 3/25/2008 Album Type: Original recording remastered, Import Genres: Blues, Jazz, Pop Style: Bebop Number of Discs: 1 SwapaCD Credits: 1 |
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Search - Oliver Nelson :: Screamin' the Blues
 | Oliver Nelson Screamin' the Blues Genres: Blues, Jazz, Pop
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CD ReviewsWhat a front line Tyler Smith | Denver, CO United States | 06/15/2000 (5 out of 5 stars) "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." FOR THE TRUE OLIVER NELSON FAN ONLY L. Coltman | Los Angeles, Ca. United States | 02/12/2001 (3 out of 5 stars) "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." Screamin' for pleasure Bomojaz | South Central PA, USA | 09/05/2005 (5 out of 5 stars) "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."
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