Bill Evans / Roy Haynes / Eric Dolphy / Oliver Nelson / Paul Chambers (3) / Freddie Hubbard ‎– The Blues And The Abstract Truth

Impulse! ‎– A-5-S, Impulse! ‎– STEREO A-5
Vinyl, LP, Album, Stereo


A1 Stolen Moments 8:45
A2 Hoe Down 4:43
A3 Cascades 5:30
B1 Yearnin' 6:20
B2 Butch And Butch 4:35
B3 Teenie's Blues 6:31



This is the first stereo pressing of this album. It has an "abstract" cover, as opposed to later pressings with a photo of Oliver Nelson. This cover was quickly withdrawn. Also unlike later pressings, the cover and label credit the album to all six musicians and not just to Nelson.

True first pressings have orange and black labels. The print at the bottom, in white, reads "A Product of Am-Par Record Corp. Printed In U.S.A."

"RVG STEREO" is stamped in the dead wax.

Cat. no. on cover is STEREO A-5. Cat. no. on label is A-5-S.

Recorded 23 February, 1961.


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October 2, 2018
Does anyone have a picture of the center label, or know if there are two different center labels? I see the description above, but mine doesn't match that, rather it matches the label pictured for this release: I definitely have the original sleeve but am trying to figure out if someone switched a later pressing into the sleeve or if there were more than one pressing with the original sleeve. Thanks!


February 18, 2016
edited over 3 years ago
When you think about the thousands of notes contained in a full-length jazz album, and how many chances there are to slip up — even just once — it may seem statistically impossible to record something without an off-note (and even if you could, would it be too sterile? This music needs some SOUL after all). Well, I think a few proven examples have surfaced over the years, and here's one that doesn't get mentioned nearly as much as the usual suspects. Sure, "Kind of Blue" often gets the crown of 'perfection', and then they'll mention "Blue Train", (but usually AFTER "A Love Supreme", which still baffles me) and maybe "Maiden Voyage" or "Somethin' Else", if they know what they're talking about — but you don't typically hear "The Blues And The Abstract Truth" brought up in those conversations.
Oliver Nelson was a dedicated, passionate musical mind, but he was far more concerned with composure and orchestration than with spontaneity or improvisation. This makes some of his work a little dry, in my opinion. This 1961 Impulse! recording, on the other hand, smacks a home run. Fittingly released between Gil Evans' heavily orchestrated "Out Of The Cool" (Impulse A-4) and Coltrane's wildly unorthodox "Africa Brass" (Impulse A-6), there was a chemistry here that is hard to beat.
I think that's an adequate enough front-sell, so let's forsake vain descriptions of the music itself, and simply let Nelson's hard work pay us a favor this time.