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  • Blues And The Abstract Truth Blues And The Abstract Truth Quick View

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    Blues And The Abstract Truth

    As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues And The Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic "Stolen Moments," but on this recording, assembling one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to for an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. 


    "With Analogue Productions' new 45 rpm vinyl pressing of Oliver Nelson's The Blues and the Abstract Truth, we finally have a reissue of this great album that's worth buying...A few 'audiophile' reissues have come out over the years, in vinyl and aluminum, but this is the first that comes close to the wondrous sonics of the original black-and-orange pressing." - Fred Kaplan, Stereophile



    The Blues and the Abstract Truth is one of my favorite jazz recordings. What a group of heavy-weight performers! Besides Oliver Nelson on tenor sax, you've got the incomparable Bill Evans on piano, Freddie Hubbard on trumpet, Paul Chambers on bass, Roy Haynes on drums, and Eric Dolphy on flute and alto sax. This is the jazz equivalent of a super-group." - Jim Hannon, AVguide.com


    "...Let me cut to the chase here and recommend that you buy two copies - one to enjoy and the other to hold for resale, because some day Acoustic Sounds' license will run out and lots of jazz fans will be kicking themselves for not buying a copy. Kevin Gray has turned out a perfect remastering job and this is my choice for reissue of the year." Recording = 10/10; Music = 10/10 - Dennis Davis, Hi-Fi+, Issue 68



    Originally released in 1961.

     

    Musicians:


    • Oliver Nelson, alto saxophone, tenor saxophone

    • George Barrow, baritone saxophone

    • Paul Chambers, bass

    • Eric Dolphy, flute, alto saxophone

    • Bill Evans, piano

    • Roy Haynes, drums

    • Freddie Hubbard, trumpet


    Stolen Moments
    Hoe-Down
    Cascades
    Yearnin'
    Butch And Butch
    Teenie's Blues
    Oliver Nelson
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Screamin' The Blues Screamin' The Blues Quick View

    $21.99
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    Screamin' The Blues

    This album is one in a series of special 2014 releases commemorating the 65th anniversary of Prestige Records and the 90th birthday of legendary
    recording engineer Rudy Van Gelder.


    Tenor and alto saxophonist Oliver Nelson meets Eric Dolphy (alto, bass clarinet and flute) on this exciting sextet session with trumpeter Richard Williams,
    pianist Richard Wyands, bassist George Duvivier and drummer Roy Haynes. Although Dolphy is too unique and skilled to be overshadowed, Nelson
    certainly hold his own effectively matching Dolphy's wit and creative ideas. Newly reissued on vinyl, Screamin' The Blues is a 'MUST HAVE' addition to
    all jazz collections.

    1. Screamin' the Blues
    2. March On, March On
    3. The Drive
    4. The Meetin'
    5. Three Seconds
    6. Alto-It is
    Oliver Nelson
    $21.99
    Vinyl LP - Sealed Buy Now
  • Charlie Watts Meets The Danish Radio Big Band Charlie Watts Meets The Danish Radio Big Band Quick View

    $25.99
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    Charlie Watts Meets The Danish Radio Big Band

    Before Charlie Watts became the best-known drummer on the planet with The Greatest rock 'n' Roll Band in the World he lived for a few months in Denmark. According to English trumpeter and flugelhorn player, Gerard Presencer, who is also a member of the Danish Radio Big Band, it was something he only found out about by chance when he and Charlie talked on the telephone in 2009


    "I landed a job with Danish Radio Big Band in 2009. A week or two after arriving in Copenhagen I got a call from Charlie. Later the idea dawned upon me for a return to his Jazz days over here after nearly 50 years. I spoke with my boss at the Danish Radio Big Band and went about putting this live project together. We agreed upon a week in Copenhagen in October 2010."


    They rehearsed for 4 days, then played a concert on the fifth day at the newly opened Danish Radio Concert Hall in Copenhagen. This concert was recorded for broadcast by Danish National Radio. Charlie and his long-time bassist Dave Green went to record shops and strolled around the city, with no need for security guards. Charlie made it clear that he did not want to be placed on a big riser above the band, as he found that this did not help the musicians to bond.


    In choosing the material, it was important to focus on the groove. According to Prescencer, "Having Dave Green on bass as special guest was an essential ingredient, as these two boyhood friends (next door neighbours growing up in Wembley, North London) have unspoken psychic connections that bassists and drummers, so there are times on this recording where their abundant empathy makes the rest of the band comfortable enough to really play out and take chances."


    The album includes seven tracks, including two Mick and Keith compositions, 'Paint it Black' and 'You Can't Always Get What You Want', both arranged by Prescencer and another one, 'Faction' that is based on another Stones' classic. There are also two by Charlie himself, both written with fellow drummer Jim Keltner.


    A day or two after the broadcast Prescencer began to think that the concert was so good it deserved to be heard more widely. "The Danish Radio needed very little convincing to hand over the recordings to me to work on, as well as Søren Frost our regular drummer and rhythm section consultant from the big band and the brilliant recording engineer, Lars C. Bruun. So, after several years work on this, we have produced this collection of music from our gig."


    Charlie Watts meets the Danish Radio Big Band is the kind of album that many jazz fans had probably given up hope of hearing. In the glory days of big band jazz and arrangers like Oliver Nelson coming up with brilliant music, albums like this were, if not commonplace, at least more readily available. The truth is there is nothing commonplace about this album, it is a sheer delight.


    Anyone who knows Charlie, knows how much he loves jazz. A few years ago when he and I were looking at a photo of the Stones playing in the 1960s he pointed at a particular cymbal and said, "I've still got that cymbal, but I don't use it on Stones' gigs, it's too good for them. I just use it on my jazz gigs." There's no doubt, that's the cymbal you hear on the first part of the 'Elvin Suite'.


    Charlie Watts is one of the great ambassadors for jazz and every jazz lover will relish this record, and the fact that Charlie is involved may bring jazz to the attention of some that are not sure if they like jazz. Listen to this and you know you do.

    1. Elvin Suite - Part 1
    2. Elvin Suite - Part 2
    3. Faction (AKA Satisfaction)
    4. I Should Care
    5. You Can't Always Get What You Want
    6. Paint It Black
    7. Molasses
    Charlie Watts & The Danish Radio Big Band
    $25.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • In Berlin With Oliver Nelson In Berlin With Oliver Nelson Quick View

    $11.99
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    In Berlin With Oliver Nelson

    Straight No Chaser
    Pharaoh's Tune (The Journey)
    Echoes
    Umbo Weti
    The Creator Has A Master Plan--Peace
    OO-Wheee!! Hindewe
    Leon Thomas with Oliver Nelson
    $11.99
    Vinyl LP Reissue - Sealed Buy Now
  • Bashin' (Speakers Corner) Bashin' (Speakers Corner) Quick View

    $34.99
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    Bashin' (Speakers Corner)

    Right up until today rumour has it that Creed Taylor enticed the organist Jimmy Smith to leave Blue Note and change to the Verve label by means of a very large fistful of dollars. One things is clear, however: that Jimmy Smith never revealed a single word about this delicate matter; but it is also clear that the whole concept of his music took on new dimensions when he changed over to his new backer. Recordings with Wes Montgomery were just the beginning; large ensembles, superb arrangements by Oliver Nelson, and fine contributions by his soloists created a magnificent background for the 'new' Jimmy Smith on this and subsequent LPs.



    Despite its title, Bashin', there is absolutely nothing to criticise on this LP. The A side presents the new concept: a wonderful, swinging background against which Jimmy Smith can develop his full potential. Oliver Nelson's light and airy arrangements further enhance the standard themes: soloists are never confined within set limits but are gently guided; the riffs are presently precisely and cleanly, without ever sounding overloaded.



    The use of the organ is also quite fascinating: beautifully relaxed in Beggar For The Blues which is arranged for a trio; swinging in the title number Bashin', and cheerful in the style of an old cowboy song - I'm An Old Cowhand, whereby this version has no need to stand in the shadow of Sonny Rollins's almost classical version.



    The old Hammond B3 organ has experienced a revival over the past few years. Jimmy Smith, on the other hand, can look back on a great musical and commercial success story ever since the Fifties - as with Bashin'!



    Musicians:



    • Jimmy Smith (organ)

    • Phil Woods (saxophone)

    • Ernie Royal, Doc Severinsen (trumpet)

    • Jimmy Cleveland, Urbie Green (trombone)

    • Barry Galbraith (guitar)

    • George Duvivier (bass)

    • Ed Shaughnessy, Don Bailey (drums)




    Recording: March 1962 in New York by Rudy Van Gelder

    Production: Creed Taylor





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    1. Walk on the Wild Side

    2. Ol' Man River

    3. In A Mellow Tone

    4. Step Right Up
    5. Beggar for the Blues
    6. Bashin'
    7. I'm an Old Cow Hand (From the Rio Grande)
    Jimmy Smith
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Call It What It Is Call It What It Is Quick View

    $24.99
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    Call It What It Is

    Ben Harper & The Innocent Criminals have reunited for Call It What It Is, their first record together in nine years.


    Call It What It Is is an incisive, bold, poetic statement that could only come from these long-time musical partners, one of popular music's most essential, cohesive and dynamic ensembles. The standout title track showcases Harper's unmatched ability to blend the personal and political. Invoking the names of Trayvon Martin, Ezell Ford, and Michael Brown over an agitated blues riff, Harper cuts to the quick: "There's good cops / bad cops / white cops / black cops / call it what it is / Murder." The genre-spanning collection contains many highlights including the sun-kissed groove of Shine and the album's swaggering lead track When Sex Was Dirty.


    It had been seven years since Ben Harper last played a show with the Innocent Criminals, so when the time came to reunite for a live tour in 2015, the band-percussionist Leon Mobley, bassist Juan Nelson, drummer Oliver Charles, keyboardist Jason Yates, and guitarist Michael Ward-quickly discovered that Harper had more in mind than simply revisiting the group's prodigious song catalogue. In fact, Harper had been quietly amassing material for a new record and the first recording sessions were scheduled to begin even before the rehearsals for their triumphant four-night sold-out reunion run at the Fillmore in San Francisco last March.


    "I thought we would be more energized and revitalized by thinking outside the box and starting with new material in the studio before we dug into the old stuff," said Harper of the reunion album. "It was meant to be a signpost that we're here to forge new ground musically and personally."

    1. When Sex Was Dirty
    2. Deeper And Deeper

    3. Call It What It Is

    4. How Dark Is Gone

    5. Shine

    6. All That Has Grown

    7. Pink Balloon

    8. Finding Our Way
    9. Bones

    10. Dance Like Fire

    11. Goodbye To You
    Ben Harper
    $24.99
    Vinyl LP - Sealed Buy Now
  • A Permeable Life A Permeable Life Quick View

    $18.99
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    A Permeable Life

    Singer-songwriter Carrie Newcomer is releasing her twelfth
    studio recording this spring, A Permeable Life, produced and
    engineered by Paul Mahern (John Mellencamp, Over the
    Rhine, Willy Nelson, Lily & Madeleine). Newcomer is simultaneously
    releasing a companion book, A Permeable Life: Poems and
    Essays. Newcomer has attracted a devoted following with
    her warm voice, exquisite melodies, and an irreverent yet
    spiritual view of the world. As in the work of poets Mary
    Oliver and Wendell Berry, Newcomer's songs are based in
    the ordinary, and infused with images from the natural world.


    "A Permeable Life is about what presses out from the heart,
    what comes in at a slant and what shimmers below the
    surface of things," Newcomer says. "To live permeably is to
    be open-hearted and audacious, to risk showing up as our
    truest self, and embracing a willingness to be astonished."


    On this album, Newcomer's signature deep voice-which the Austin American-Statesman called "as rich
    as Godiva chocolate"-takes on a quiet conversational tone, close and intimate. Open and elegant arrangements
    showcase lyrics that balance introspection and interior monologue with love and fascination for the shared
    human story. The concept of this album was creating a musical framework as intimate and elegant as the songs
    themselves. Each individual part have clarity and beauty, tting perfectly together like the gears of a ne clock,
    and yet uid and never ridged or contained but remaining open and seemingly effortless. Newcomer states, "We
    wanted this album to be very intimate. We wanted the listener to feel very close as if in conversation with me.
    The vocals on this album were sung as if I were sitting at the kitchen table with the listener."


    In "Every Little Bit of It," Newcomer delights in the small experiences that give our life meaning, and the
    importance of embracing these moments while we can "drain the glass drink it down, every moment of this,
    every little bit of it." In "A Light in the Window," she reects on the feeling of seeing a light in the window at a
    distance. We don't know what the next threshold will bring, and yet there is always a whisper, a light in the
    distance giving us hope and encouragement. In "Writing You a Letter," Newcomer describes the process of
    traveling with an open heart, and how it will inevitably change us: "Every place I go leaves it's own tattoo." But
    she also knows that we make impressions when we leave: "That's how it is laying stone on stone, building little
    altars by the side of the road." "The Ten O'clock Line" and "Abide" (co-written with author Parker J. Palmer),
    explore themes of loss and new thresholds, musing on the possibility that what may look like a hole in one's
    life, may be only a space. In "Visitation," Newcomer describes the experience of how memories do not arrive in
    a linear fashion, but wash over us throughout the day. In the haunting "Thank You Good Night" she describes
    the evolution of a prayer of gratitude. "A Room at the Table" is an anthem for a new diverse world where she
    writes "This is how it all begins, let us sing the new world in," calling us to allow this troubled world to
    transform us and move us to action. In "An Empty Chair" she explores one woman's story in the wake of
    unexpected gun violence. And "Forever Ray" and "Don't Put Me On Hold" reect Newcomer's mischievous
    humor.

    1. Every Little Bit of It
    2. The Ten O'clock Line Featuring Lily & Madeleine
    3. Writing You a Letter

    4. A Light in the Window
    5. The Work of Our Hands
    6. Abide
    7. Room at the Table
    8. Thank You Good Night
    9. Forever Ray
    10. An Empty Chair
    11. Visitation

    12. Please Don't Put Me on Hold
    Carrie Newcomer
    $18.99
    Vinyl LP - Sealed Buy Now
  • Screamin' The Blues (Out Of Stock) Screamin' The Blues (Out Of Stock) Quick View

    $34.99
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    Screamin' The Blues (Out Of Stock)

    Part Of The Ultimate Audiophile Prestige Stereo Reissues From Analogue Productions - 25 Of The Most Collectible, Rarest, Most Audiophile-Sounding Rudy Van Gelder Recordings Ever Made. All Cut At 33 1/3.


    All Mastered From The Original Analog Master Tapes By Mastering Maestro Kevin Gray. 200-Gram LPs Pressed At Acoustic Sounds' State-Of-The-Art Pressing Plant, Quality Record Pressings, Plated By Gary Salstrom


    Deep Groove Label Pressings, Tip-On Jackets On Thick Cardboard Stock


    Posterity remembers Oliver Nelson (1932-1975) primarily as an arranger/conductor. When he first began to attract attention with a series of albums for Prestige and its subsidiaries, however, Nelson was hailed as a versatile leader of small groups and a composer/instrumentalist who could refresh the music's traditional verities while also looking ahead. There is no better showcase for these skills among his initial sessions than Screamin' the Blues, a rousing set of funky modernism interpreted by a sextet of players who shared Nelson's allegiance to both virtuosity and vision. The pairing of saxophonist Eric Dolphy with Nelson was particularly inspired as both men were adept on more than one instrument, and allowed this sextet to create an uncommon diversity of colors. Nelson and Dolphy would reunite a year later on both the classic Blues and the Abstract Truth and (with the band heard here minus trumpeter Richard Williams) on the looser yet intense Straight Ahead. With Richard Williams, Eric Dolphy, Richard Wyands, George Duvivier and Roy Haynes.

    1. Screamin' the Blues
    2. March On, March On
    3. The Drive
    4. The Meetin'
    5. Three Seconds
    6. Alto-itis
    Oliver Nelson
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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