Originally posted by Serial_Apologist
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Regarding "BATAT" the whole album for me is essentially about three things. The first if Nelson's writing for a small ensemble which is hugely distinctive and the second the crispness of the ensemble, especially the rhythm section. I would tend to agree with SA's assessment although I would tend not to malign Nelson's contributions. There are no solos from the baritone saxophonist as I believe that he could not improvise and was brought in to add depth to the ensemble largely because of Nelson's admiration for his as a musician. The "problem" with Freddie Hubbard around the early sixties is that you cannot easily single one recording out as his "masterpiece." He was extremely consistent around this time and just seemed to churn out one exception performance out on record after the other. That said, I still think that Dolphy was the star of the show and by a country mile. He is by far the most interesting thing about the record and the record seems to shift up a gear when he solos. What I do find interesting is the performance by Bill Evans because he made so few records with larger from lines. For me he is the odd man out on this record and it fascinates me listening to his playing behind Dolphy because I always feel that the pianist is struggling with Dolphy's concept, especially from a rhythmic point of view. It would have been more "appropriate" to have had a player like Herbie Hancock on board but this record predates his rise to fame and perhaps Nelson felt that Evans was the best option. This record is perhaps the studio session with Dolphy that I like the most as it is rather like the sessions Benny Goodman made with Charlie Christian or Coleman Hawkin's work with Fletcher Henderson insofar that it features one soloist whose concept is considerably in advance of his colleagues. I find these scenarios fascinating but the challenge thrown down to Bill Evans on this record certainly adds another edge to this record.
Nelson's big band writing is extremely recognisable and very redolent of the 1960's but maybe he needs to be reconsidered as he is celebrated largely for "TBATAT" and a serious of records featuring stellar soloists that were perhaps made for an audience beyond jazz. This performance might come as a surprise if this is all you are aware of regarding Nelson's work;-
I havent listened to Blues & The Abstract Truth for quite a long while, if the "truth" be known, and I must have a listen to Bill Evans's approach where he's backing Dolphy. 
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