Oliver Nelson Plays “Stolen Moments”

Oliver Nelson Blues and the Abstract TruthListen to this track by jazz saxphonist, arranger, and latter day TV soundtrack composer Oliver Nelson. It’s “Stolen Moments”, an established jazz standard covered by many since, and the centerpiece to his celebrated 1961 album The Blues And The Abstract Truth.

Nelson is joined on this song by a selection of some of the greatest musicians in jazz at the time; Paul Chambers on bass, Roy Haynes on drums, Eric Dolphy on flute, Freddie Hubbard on trumpet, and Bill Evans on piano. Nelson’s septet is rounded out by George Barrow, who holds down the low end on baritone sax, even if he doesn’t take a solo. With this tune, it’s the voices of the horns working together to bring out the harmonic beauty found in the theme of the song that makes it such a work of note.

Much in the same way horns would be tightly arranged later in the decade on significant jazz releases like Lee Morgan’s “The Sidewinder”, and Horace Silver’s “Song For My Father”, the horns here on this piece are interlocked in the same way they are on a lot of R&B tunes. Perhaps this sheds some light on where Nelson had come from as a musician, and perhaps pointed to where he was going, too.  Read more

Sonny Rollins Plays ‘St. Thomas’

Listen to this track from post-bop last man standing, jazz giant, and respected saxophone colossus Sonny Rollins. It’s “St. Thomas” his signature song from 1956’s album named, appropriately enough, Saxophone Colossus.  This is a tune for which Rollins is credited for composing, although in actuality it’s derived from  a folk song originating  from the country of St. Thomas in the Virgin Islands, the birthplace of his parents, and a tune he would have heard as a child.

Like many jazz musicians, Rollins started out his recording career at a very young age. He mixed with a rich talent pool of contemporaries on the scene by the late 40s and early 50s New York City including Thelonius Monk, Bud Powell, Clifford Brown, and Miles Davis.  This was a time when be-bop was winding down to cool jazz and post bop.  The sounds of R&B didn’t  escape his musical ear either, inspired as he was by Louis Jordan’s jump blues, which is a musical strain that led directly to rock n roll by the end of the decade.

But, Rollins’ path remained to be straight stylistically on the jazz road for the most part, but for this little gem of a track on the Prestige label (same as Miles Davis by the mid-50s) that featured on his essential Saxophone Colossus album. The record also features Tommy Flanagan on piano and the incomparable Max Roach on drums.  The album is recognized as his masterpiece, and this tune to be his signature.  And what a tune it is, beaming with sunshiny optimism, helped along by Rollins keen emphasis on melody and roundness of tone that make it a welcoming invitation to jazz fans and newbies all at once.

Still, Rollins would not stop here, but neither would he continue without interruption.  He took a musical sabbatical by the end of the decade (one of a number), simply to re-evaluate his direction (while still maintaining a regimen by practicing regularly on the  Willamsburg Bridge in New York City).  He returned in 1962 with the comeback record, again appropriately enough, The Bridge.  In the meantime, “St Thomas” took on a life of its own, re-entering the vocabulary of island jazz musicians such as the Skatellites, who recorded it in 1964 and helping to usher in ska as an independently defined style. Ska as a musical form of course would later go on to influence new wave and punk.

Rollins would continue to delve into various musical avenues off of the main street of post-bop jazz, including fusion, jazz funk, and continue an exploration of Calypso forms as well.  He is an active musician today an one of the remaining pioneers of post-bop jazz, touring and recording regularly even in his 80s.

For more information about Sonny Rollins, check out SonnyRollins.com.

Enjoy!