Steve Nelson Albums (10)
What The Critics Say
With only a handful of recordings as a leader to his credit, vibraphonist Steve Nelson is known much better as a sideman. When he does a recording up-front, the repertoire tends to be far less challenging than his work with other modern mainstream jazz groups, most notably the bands of Dave Holland. That is not to say it is any less heartfelt. On this effort, Nelson asserts himself as one of the premier soloists on his instrument, as he has been for several decades. Check out the bridge work during his original lengthy nine-minute ballad "Sound Essence" or the closing number, the late James Williams waltz "Arioso," and you hear the craft of a thoughtful, skilled, literate master at work. This collectively is a pro's pro quartet, with pianist Mulgrew Miller, bassist Peter Washington, and drummer Lewis Nash succinctly pulling more than their fair share of the load. Miller, always brilliant, facile, and tactful, shines through the simplest version of "Desafinado," a patient reading of "Night Mist Blues," and the more complex quickened bright waltz "Song for Tina," one of three Nelson originals. The pianist's unison playing with the vibes must be heard much more than once. The band rips through "You and the Night and the Music," a barn-burning modern hard bopping take on this well-worn standard if there ever was one. It's uncertain if there has been a vibist minus trumpet or saxophone take of Freddie Hubbard's "Up Jumped Spring," but this shouldn't be the last, with Miller again steadily stoking the coals of Nelson's waltzing terpsichore. This program starts with Nelson coolly blowing stardust all over his original "One Thin Dime," which could eventually become a jazz standard. It's a midtempo blues swinger in a Milt Jackson tone that firmly establishes Nelson's solo acumen heard throughout, and sets the artistic pace for the entire date. Somehow Nelson's recordings leave the listener wanting more, wondering if he is at the peak of his powers. Sound-Effect demonstrates that Nelson is in fact likely close to the top of game -- hopefully there's more in the tank from this wonderful player. ~ Michael G. Nastos, All Music Guide
What The Critics Say
At this juncture of the vibraphonist's career, Steve Nelson is mostly known for his tenure with the Dave Holland Quintet and this mellow and conventional session might surprise many. It is, however, the logical follow-up to Full Nelson with which it shares the same mood and personnel. Pianist Kirk Lightsey and bassist Ray Drummond are exceptional musicians and, unfortunately, this rather lethargic session is not the best showcase for their respective talents. The musicians' lack of histrionics is such that repeated listening is necessary to find the few nuggets. The program mostly consists of standards and Nelson originals. The best tracks are, however, the two pieces contributed by Lightsey. "Heaven Dance" is arguably one of his best compositions and "Laila in Blues" benefits from a beautiful solo introduction by the leader. In contrast, Nelson's "Original #2," which runs under two minutes, would have deserved a fuller treatment. At the same time, the composition seems to have been added as an afterthought. Overall, the playing is fine and tasteful, but due to the slow pace and the musicians' subdued demeanor,the music does not spark enough interest. ~ Alain Drouot, All Music Guide
'Listen What the Katmandu'
Release Date 1/1/2002
Tracks 16
Label Katmandu
See Album Tracklist and Review
What The Critics Say
From the ebullient first track, a Nelson original, this release is consistently elegant and swinging. Nelson can cook like Milt Jackson and harmonize like Bobby Hutcherson, but imitates neither. His composing and performing talent both sparkle in this setting, where he's joined by three other top players, each of whom gets to shine in all the seamless, generous handing-offs. Highlights include Nelson's churning "Shape Shifting," with its whiff of mystery; the funky, bluesy "Down Fuzz"; and a languid, tropical reading of "Someone to Light Up My Life," where Nelson pedals his tone like a watercolorist, and each player's solo emerges as another lovely shade. It's a fine foursome: Miller's solos are thoughtful and impeccable, his comping melodic; his unaccompanied opener and solos on the dreamy "It's the Talk of the Town" are additional high points. Unrelated by blood, the Washingtons share a talent for subtle, yet essential contributions, and Kenny really kicks on this one. The closer is an unusual up-tempo version of the haunting "Wild As the Wind," capping a set of warm, relaxed, inviting jazz. ~ Judith Schlesinger, All Music Guide
What The Critics Say
Although vibraphonist Steve Nelson had been on the jazz scene for some time, Full Nelson marked his debut as a leader. Accompanied by two fine musicians, the highly sought-after bassist Ray Drummond and pianist Kirk Lightsey (who, like Nelson, is still deserving of wider recognition), he put together a thoughtful program of standards, great jazz compositions, and a pair of originals, though his playing is much softer than on typical recordings which followed. This session evolved from an extended gig in 1989 led by Nelson with the identical sidemen at the late, lamented New York landmark Bradley's. The resulting sound of this mostly ballad set is very intimate, with Nelson not having to use much volume on his instrument in order to be heard. The underlying pulse of "The Nearness of You" is carried by Drummond, as Lightsey ducks in and out in support of Nelson. His catchy "Blues for George A" is also very subtle and deliberately underplayed. The lush treatment of the infrequently heard "The Star-Crossed Lovers" will please fans of Duke Ellington, while the unusually extended workout of "Chelsea Bridge" is also highly rewarding. The packaging is the only defect of this excellent CD, as "The Star-Crossed Lovers" is inexplicably credited to pop singer Neil Sedaka instead of Duke Ellington and Billy Strayhorn, while Strayhorn's landmark piece "Chelsea Bridge" is listed as written by Ellington. Such sloppy research on the part of the label is inexcusable. ~ Ken Dryden, All Music Guide
What The Critics Say
From the same live date as Live Session One, this CD sticks more to standards and focuses a little bit more on the considerable talent of alto saxophonist and quintet co-leader Bobby Watson. A blazing "The Song Is You" opens the set, while Watson sits out Nelson's feature on "I Can't Get Started With You." The reedman shines on a lengthy sojourn through "Sweet and Lovely" and the brief closer, "This Time the Dream's On Me." Donald Brown, Curtis Lundy and Victor Lewis make up the top-notch rhythm section. ~ Ken Dryden, All Music Guide
What The Critics Say
This date features a quintet co-led by alto saxophonist Bobby Watson, but most of the CD is devoted to the hard-hitting vibraphonist's compositions. "New Beginning" serves as a thunderous introduction to the quintet, which features pianist Donald Brown, bassist Curtis Lundy and drummer Victor Lewis as well. Watson contributed the tasty low-key ballad "Quiet as It Is Kept," and a long, very intense workout of "Afro Blue" serves as the focal point, with everyone in top form. ~ Ken Dryden, All Music Guide
