OLIVER NELSON ERIC DOLPHY 'STRAIGHT AHEAD' STUNNING RARE UK ESQUIRE JAZZ LP 1961
£
45
$
60
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Description
ARTIST/TITLE: OLIVER NELSON WITH ERIC DOLPHY - STRAIGHT AHEAD - ESQUIRE 32-168 - 1961- ORIGINAL UK LP
CONDITION (GOLDMINE GRADING): VINYL: SHINY M- /SLEEVE: VG+ (TAPE MARKS TO CORNERS OF COVER, NAME WRITTEN TO TOP LEFT BACK CORNER, GENERAL AGE-WEAR)
RARE 'PRESTIGE' SET ON SCARCE BRITISH ESQUIRE PRESSING!
LINE-UP: OLIVER NELSON (ALTO SAX/TENOR SAX/CLARINET), ERIC DOLPHY (ALTO SAX/BASS CLARINET/FLUTE), RICHARD WYANDS (PIANO), GEORGE DUVIVIER (BASS), ROY HAYNES (DRUMS)
GRAMOPHONE MAGAZINE REVIEW:
TRACKLIST: Images: Six And Four: Mama Lou/Ralph's New Blues: Straight Ahead Although there are times when I am infuriated by Eric Dolphy, and other occasions when I have no idea what motivates his seemingly erratic solos, I must admit I am invariably intrigued by his appearances on record. Repeated playing usually increases my enjoyment, and this is particularly true of "Straight Ahead". Ever since Dolphy and Oliver Nelson teamed up on the "Screamin' The Blues" LP (Esquire mono 32-148), it has been apparent that the two saxophonists are ideally suited one to another. Nelson brings to the music a more careful, more considered approach, which offsets the intrepid flights of Dolphy, a man who refuses to be shaken by his own mistakes. (Perhaps mistakes is the wrong word; the off-pitch notes and careless use of the octave button might all be part of his self-created style.) It's dangerous to criticise an artist for using a new means of expression and incorrect to judge any new approach by old standards. As proof of this I've just received from correspondent Pip Gaskell the most lucid and reasoned analysis of Ornette Coleman which I've yet read. Clearly there is more to Coleman's music than I had previously suspected; equally clearly, the professional critic is in a highly vulnerable position when called upon to make a snap decision about the work of such an apparently unorthodox artist. What I like about the music on this LP is its light and airy feeling, even when the tempo is fast ; the consistency of the atmosphere might be accounted for by the fact that the entire album was recorded in less than two and a half hours. Five of the six numbers were composed by Nelson, and it is surprising that one man is capable of producing such a varied selection of material. Six And Four is so called because the time signature changes from 6/4 to 4/4 during each chorus; the smoothness with which these changes take place is some measure of the rhythm section's excellence. (Richard Wyands, George Duvivier and Roy Haynes make up a wholly compatible team.) Nelson plays both alto and tenor saxes and produces a surprisingly Hodges-like sound on the former instrument during the moody Nocturne. On tenor he pokes good-humoured fun at Dolphy at the beginning of his solo on Ralph's New Blues, before settling down to play in a less contrived manner. Men such as Dolphy, Nelson, Mingus, Roland Kirk, Ken McIntyre, etc., seem to be moving along roughly parallel paths of development, and while it may be too early to predict the outcome of their work, these attempts to broaden the scope of jazz in the nineteen-sixties are certainly very praiseworthy. A.M.
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