The album is an exploration of the mood and structure of the blues, though only some of the tracks are structured in the conventional 12-bar blues form. In this regard, it may be seen as a continuation of the trend towards greater harmonic simplicity and subtlety via reimagined versions of the blues that was instigated by Miles Davis's Kind of Blue in 1959 (Evans and Chambers played on both albums). Among the pieces on the album, "Stolen Moments" is the most famous: a sixteen-bar piece in an eight-six-two pattern, even though the solos are in a conventional 12-bar minor-key blues structure in C minor. "Hoe-Down" is built on a forty-four-bar structure (with thirty-two-bar solos based on "rhythm changes"). "Cascades" modifies the traditional 32-bar AABA form by using a 16-bar minor blues for the A section, stretching the form to a total of 56 bars. The B-side of the album contains three tracks that hew closer to the 12-bar form: "Yearnin'", "Butch and Butch" and "Teenie's Blues" (which opens with an essential 12-bar bass solo by Chambers).
Nelson's later 1964 album, More Blues and the Abstract Truth, features an entirely different band and bears little resemblance to this record.
In 2008 pianist Bill Cunliffe released the tribute album The Blues and the Abstract Truth, Take 2, featuring new arrangements of the original pieces.
All tracks composed by Nelson.
- "Stolen Moments" - 8:46
- "Hoe-Down" - 4:43
- "Cascades" - 5:32
- "Yearnin'" - 6:24
- "Butch and Butch" - 4:35
- "Teenie's Blues" - 6:33
Oliver Nelson — alto saxophone, tenor saxophone
Eric Dolphy — flute, alto saxophone
George Barrow — baritone saxophone
Freddie Hubbard — trumpet
Bill Evans — piano
Paul Chambers — bass
Roy Haynes — drums
Eric Dolphy — flute, alto saxophone
George Barrow — baritone saxophone
Freddie Hubbard — trumpet
Bill Evans — piano
Paul Chambers — bass
Roy Haynes — drums
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