DOCUMENTO N° 2Recensione del 1989 apparsa su Down Beat in occasione della ristampa di
The Bluesand The Abstract TruthThe romantics say art must be imperfect to be human. Oliver Nelson proved themwrong. There isn't a false or hesitant note anywhere here, but bloodless it ain't. A thousand replays later, the contrast between saxophonists is still magic: Dolphy's notes leap fromhis horn like a pagan cry; Nelson's solos (and tunes—"Cascades") unfold in orderly patterns based on homemade exercises, but don't sound studied. Freddie Hubbard hasnever been better; Haynes and P.C. goosed Bill Evans (who still got Kind of Bluesy on"Yearnin"').Every composition is built on 12-bar blues or the 32-bars of "I Got Rhythm"—thedual forms from which so many have abstracted so much beauty and truth. But Nelsontinkered with and tested those forms, devising 44- and 56-bar choruses. Eric, on his third fine Nelson LP, seized the possibilities in these sleek lines and bracing voicings ("Teenie's Blues") most readily; he energized the sextet as much as the timelesscharts did. You can't envision the date without Dolphy—which may be why theseoutstanding tunes aren't covered nearly enough. It's one of Eric's prime bequests. And Nelson's masterpiece. He made a nominal sequel, but nothing he did later came close.Back when Art Lange edited db, he once sent reviewers a tactful memo, reminding them that the greatest records ever made could get only five stars—and to keep that inmind when ever tempted to bestow the big handful. For this reviewer, B&TAT is one of thebenchmarks to measure other albums against. Few measure up.
(MCA/Impulse 5659)Kevin Whilehea,
Blues and the Abstract Truth
, in:Down Beat, 56/9 (Settembre 1989),pp. 71-72DOCUMENTO N°3Copia della partitura originale di
Blues& The Abstract Truth
, pubblicata in Down BeatMusic ’69, 14 (1969), pp. 82-87