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Screamin' The Blues

Oliver Nelson, Jimmy Rushing Audio CD
4.5 out of 5 stars  See all reviews (2 customer reviews)
Price: 6.99
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Product details

  • Audio CD (5 Jun 1995)
  • Number of Discs: 1
  • Label: Original Jazz Classics
  • ASIN: B000026DGI
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 322,260 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
Listen  1. Screamin' the Blues10:59Album Only
Listen  2. March on, March on 4:590.69  Buy MP3 
Listen  3. The Drive 5:490.69  Buy MP3 
Listen  4. The Meetin' 6:430.69  Buy MP3 
Listen  5. Three Seconds 6:250.69  Buy MP3 
Listen  6. Alto-It Is 4:580.69  Buy MP3 


Customer Reviews

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Most Helpful Customer Reviews
3 of 3 people found the following review helpful
By Jazzrook TOP 500 REVIEWER
Format:Audio CD|Verified Purchase
This overlooked sextet album by the saxophonist/composer/arranger Oliver Nelson was recorded in New Jersey on May 27, 1960 several months before his 1961 classic 'The Blues and the Abstract Truth'(IMPULSE!).
With Oliver Nelson(tenor & alto saxophone) were Eric Dolphy(alto saxophone & bass clarinet); Richard Williams(trumpet) and a superb rhythm section of Richard Wyands(piano); George Duvivier(bass) & Roy Haynes(drums).
Dolphy's colourful, volcanic playing provides a striking contrast to Nelson's more straightahead saxophone style. Five of the six memorable compositions are by the leader with the highlights including 'The Meetin'', 'Three Seconds', 'Alto-itis' & the title-track.
This RVG remaster(2006) of 'Screamin' the Blues' still sounds fresh over 50 years later and should appeal to anyone who appreciates passionate and soulful modern jazz.
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4.0 out of 5 stars An embryonic "Blues and the Abstract Truth". 16 April 2014
Format:Audio CD|Verified Purchase
This early album (1960) with Oliver Nelson as leader is not only a great album in its own right but is an embryonic version of his seminal recording "Blues and the Abstract Truth" recorded a year later.

Nelson leads on tenor (and alto) and is joined by Eric Dolphy (early in his career, soon after leaving Chico Hamilton, but before his great albums with Mingus, Coltrane, and his own masterpiece "Out To Lunch"), Roy Haynes, Richard Williams, Richard Wyands and George Duvivier.

There are just the six tracks from the original vinyl album.

Hugely enjoyable in its own right or for students of Nelson, who want to hear "where he was coming from". The album had a four and a half star review from Allmusic when it was first released. I have given it Four stars only because "Blues and the Abstract Truth" must get five stars!

Buy this album.
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Amazon.com: 4.5 out of 5 stars  11 reviews
17 of 17 people found the following review helpful
5.0 out of 5 stars What a front line 15 Jun 2000
By Tyler Smith - Published on Amazon.com
Format:Audio CD
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.
12 of 12 people found the following review helpful
5.0 out of 5 stars Screamin' is right! 5 May 2000
By Pharoah S. Wail - Published on Amazon.com
Format:Audio CD
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.
10 of 10 people found the following review helpful
5.0 out of 5 stars WOW ! 29 Nov 1999
By Eddie Landsberg - Published on Amazon.com
Format:Audio CD|Verified Purchase
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 !
8 of 8 people found the following review helpful
4.0 out of 5 stars More Blues and Truth from one of the best. 9 Mar 2007
By Samuel Chell - Published on Amazon.com
Format:Audio CD|Verified Purchase
Oliver's talents as an arranger-composer were so much in demand that unfortunately he was not recorded nearly enough as a performer. On both the alto and tenor saxophones he's a force to contend wiith, a definitive, majestic improviser who plays without the least doubt, hesistancy or tentativeness: each extemporized solo is practically a finished composition. His only rival, in that regard, is Dexter Gordon.

On at least three occasions--the date preceding this one and the classic "Blues and the Abstract Truth"--Oliver was insistent on including the controversial, avant garde player, Eric Dolphy. For the most part, it was a good call on Oliver's part. On the opening, title track, Dolphy's squawking, talking bass clarinet sounds oddly out of place, but on the remaining tracks, all featuring Dolphy's alto saxophone, the exchanges are spirited and, despite the contrast or because of it, illuminating. Spurred by Dolphy's range-busting top tones and virtuosic technique and harmonic complexity, Nelson's consummate command is all the more impressive. No player employs tension and release more effectively than Oliver Nelson (check out, especially, his Perdido solo on "Soul Battle" and his solo on the title tune of "Mainstem"), who eschews scales and "running the changes" in favor of daring and bold statements, often reaching thrilling climaxes and triumphant resolutions.

With these musicians (including the underrated trumpeter Richard Williams), feeling blue is occasion for celebrating.
5 of 5 people found the following review helpful
5.0 out of 5 stars screamin' OLIVER 30 Jan 2012
By Simon - Published on Amazon.com
Format:Audio CD
This is a recording of a session ful of good music and a sweeping fun.
Nelson was an excellent, non bulshit, saxophonist, a great arranger and a fine composer, and 5 from the 6 lovely tracks here are by him. In this session he plays with the great Dolphy, which is quite unexpected and even risky choice, but these two fantastic musicians are so attentive, open and warm to each other that the result is not less than fascinating and intriguing.
As for the other players, well, every recording with George Duvivier is a must, and not just to contra-bassophiles. The 6th track shows Richard Williams, the trumpet player, in a wizard display that makes him sounds like a ful brass section - you must listen to it to believe.

I compared side by side this new reissue to the former one (from 1991), and the new version is much better, and in every respect (the recording itself is lush, big and dynamic).
In addition to the original linear notes, there is an interesting note by Joe Goldberg.
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