Purchasing this song through our affiliate links with certain retailers provides jazzleadsheets.com with additional support to help keep us bringing you the best lead sheets available. Thank you!
Our audio excerpt starts right on the A section melody. However, Steve's recorded eight-measure introduction on the recording, a great way to set up the melody, is indicated on all editions. The easygoing medium swing melody is lyrical and singable with some bluesy embellishments which are notated in all editions, so you can get Steve's inflections just right. As we've mentioned on other Steve Nelson compositions (Song For Justine), he has a great ability to spin out a melody: the bridge here is expanded to 16 measures, and the final A section is 22 measures, ending with the last two measures of his introduction to set up the solo section. Nelson's compositions always tell a story, even without words.
This is the second album by this exquisite trio of musicians. Steve's first album with them was recorded in 1989 and is called "Full Nelson," so "Fuller Nelson" is a great title for their second album.
Vibraphonist Steve Nelson's career began in the early 1970s. His first touring experience was with the legendary guitarist Grant Green. Steve cites Milt Jackson as his first major influence, although in later years he developed a harmonically open sound influenced by Bobby Hutcherson. While attending the State University of New Jersey at Rutgers then-new jazz program, he met pianist Kenny Barron, drummer Freddie Waits, guitarist Ted Dunbar and reedman James Spaulding, who were all faculty members. Through them, he began to perform in New York City. In 1976, at age 22, Steve recorded with James Spaulding ("Plays The Music Of Duke Ellington"), and in 1980 recorded albums with Kenny Barron and Ted Dunbar. Read more...
