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简介

奥立佛 尼尔森是爵士乐作曲家、编曲家、中高音及次低音萨克斯管手，他成了早期的演奏Jeter-Pillars管弦乐团与圣路易斯大牌乐队为首的George Hudson 和NAT Towles。除了参与Jeter-Pillars管弦乐团的演出，在1960到1961年之间，他出了6个专辑，提供了很多在当时让人们喜爱的爵士乐，《Blues and the Abstract Truth》（1961年）被认为是他职业生涯中比较典型的爵士专辑，他大胆与Eric Dolphy 演奏了惊人的五重奏，当他搬到洛杉矶时，奥立佛 尼尔森开始努力写有关于电影和电视的音乐，也会偶尔出现在管弦乐团中，他记录了很多爵士乐曲，他在43岁时因心脏病发而死。 by Scott Yanow Oliver Nelson was a distinctive soloist on alto, tenor, and even soprano, but his writing eventually overshadowed his playing skills. He became a professional early on in 1947, playing with the Jeter-Pillars Orchestra and with St. Louis big bands headed by George Hudson and Nat Towles. In 1951, he arranged and played second alto for Louis Jordans big band, and followed with a period in the Navy and four years at a university. After moving to New York, Nelson worked briefly with Erskine Hawkins, Wild Bill Davis, and Louie Bellson (the latter on the West Coast). In addition to playing with Quincy Jones orchestra (1960-1961), between 1959-1961 Nelson recorded six small-group albums and a big band date; those gave him a lot of recognition and respect in the jazz world. Blues and the Abstract Truth (from 1961) is considered a classic and helped to popularize a song that Nelson had included on a slightly earlier Eddie Lockjaw Davis session, Stolen Moments. He also fearlessly matched wits effectively with the explosive Eric Dolphy on a pair of quintet sessions. But good as his playing was, Nelson was in greater demand as an arranger, writing for big band dates of Jimmy Smith, Wes Montgomery, and Billy Taylor, among others. By 1967, when he moved to Los Angeles, Nelson was working hard in the studios, writing for television and movies. He occasionally appeared with a big band, wrote a few ambitious works, and recorded jazz on an infrequent basis, but Oliver Nelson was largely lost to jazz a few years before his unexpected death at age 43 from a heart attack. (更多)

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