Archive for the ‘Eric Dolphy’ Category
Eric Dolphy – The Illinois Concert (1963 – Blue Note)
Eric Dolphy is now recognized as an innovative genius, but in the ’60s he was ignored by the public and derided by critics and many of his peers. Originally influenced by Charlie Parker, Dolphy was a master alto saxophonist/flautist and was one of a handful of musicians who utilized the bass clarinet in a jazz setting. The Illinois Concert was taped at the University of Illinois in 1963 and represents a major addition to the Dolphy discography. The rhythm section, a young Herbie Hancock (piano), Eddie Khan (bass), J.S. Moses (drums), is augmented by the University of Illinois Brass Ensemble on Red Planet and G.W. Dolphy’s splendid improvisations deftly straddle the line separating hard bop and free jazz; alternating between melodious sweetness and harsh intensity. The highlight of the set is Dolphy’s unaccompanied bass clarinet tour de force, God Bless The Child. Except for his under-miked flute on South Street Exit (which fails to detract from Dolphy’s brilliant solo) the sound is very good. Kudos to Blue Note for unearthing this long-buried treasure
All About jazz (John Sharpe)
1. Softly as in a Morning Sunrise
2. Something Sweet, Something Tender
3. God Bless The Child
4. South Street Exit
5. Iron Man
6. Red Planet
7. G.W.
Personnel:
Eric Dolphy (flute, bass clarinet, Alto Sax)
Eddie Khan (bass)
Herbie Hancock (piano)
J.C. Moses (drums)
Vince Johnson, Kim Richmond (reeds)
Bruce Scafe, Dick Montz, Larry Franklin (trumpet)
Jon English , Bob Edmondson (trombone);
Aaron Johnson (tuba)
Ralph Woodward, Cecil Bridgewater (brass)
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Booker Little: Out Front (1961 – Candid Records)
Booker Little’s “Out Front” is truly one of the great early recordings of the New Jazz. Recorded over two sessions in the spring of 1961 for jazz writer and critic Nat Hentoff’s Candid label, “Out Front” features some of the best jazz musicians of the day — Eric Dolphy, Julian Priester, Ron Carter and Max Roach. (Additionally, Art Davis replaces Carter on three tracks and Don Friedman plays piano.) These are names that would become synonymous with the experimental jazz innovations of the 60s. Of the numerous factors that contribute to this being a classic album, Little’s creative compositions and impeccable arrangements are the most remarkable. The combination of Dolphy, Little and Priester produced bright, energetic melodies that are hauntingly evocative. Unfortunately, Little would die in just a few short months. And it’s tragically ironic that just as Little was shedding the inevitable Clifford Brown comparisons, Little too would die too young and too soon. “Out Front” gives us a glimpse at what could have been, yet thankfully it is a masterpiece in its own right to relish.
2. Strength and Sanity
3. Quiet, Please
4. Moods in Free Time
5. Man of Words
6. Hazy Hues
Recorded at Nola Penthouse Studios, New York, New York on March 17 & April 4, 1961.
Original Release Date: 1961 – Label: Candid Records
Oliver Nelson "The Blues And The Abstract Truth" (1961 – GRP)
As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues and the Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic “Stolen Moments,” but on this recording, assembling one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass), and Roy Haynes (drums) can do no wrong as a rhythm section. “Stolen Moments” really needs no comments, as its undisputable beauty shines through in a three-part horn harmony fronting Hubbard’s lead melody. It’s a thing of beauty that is more timeless as the years pass. The “Blues” aspect is best heard on “Yearnin’,” a stylish, swinging, and swaying downhearted piece that is a bluesy as Evans would ever be. Both “Blues” and “Abstract Truth” combine for the darker “Teenie’s Blues,” a feature for Nelson and Dolphy’s alto saxes, Dolphy assertive in stepping forth with his distinctive, angular, dramatic, fractured, brittle voice that marks him a maverick. Then there’s “Hoedown,” which has always been the black sheep of this collection with its country flavor and stereo separated upper and lower horn in snappy call-and-response barking. As surging and searing hard boppers respectively, “Cascades” and “Butch & Butch” again remind you of the era of the early ’60s when this music was king, and why Hubbard was so revered as a young master of the idiom. This CD is a must buy for all jazz collectors, and a Top Ten-Fifty favorite for many.
Michael G. Nastos (All Music Guide)
1. Stolen Moments
2. Hoe-Down
3. Cascades
4. Yearnin’
5. Butch and Butch
6. Teenie’s Blues
(All tracks composed by Nelson.)
Personnel:
Oliver Nelson – Tenor Saxophone, Alto Saxophone
Eric Dolphy – Alto Saxophone, Flute
George Barrow – Baritone Saxophone
Freddie Hubbard – Trumpet
Bill Evans – Piano
Paul Chambers – Bass
Roy Haynes – Drums
Original Release Date: February 23, 1961 – Label: GRP Records
Eric Dolphy – Out to Lunch! (February 25, 1964 – Blue Note Records)
In 1964, Dolphy signed with the legendary Blue Note label and recorded Out to Lunch (once again, the label insisted on using “out” in the title). This album was deeply rooted in the avant garde, and Dolphy’s solos are as dissonant and unpredictable as anything he ever recorded. Out to Lunch is often regarded not only as Dolphy’s finest album, but also as one of the greatest jazz recordings ever made.
After Out to Lunch and an appearance as a sideman on Andrew Hill’s Point of Departure, Dolphy left to tour Europe with Charles Mingus’ sextet (one of Mingus’ most underrated bands and without a doubt one of the most exciting) in early 1964. From there he intended to settle in Europe with his fiancée, who was working on the ballet scene in Paris. After leaving Mingus, he performed with and recorded a few sides with various European bands and was preparing to join Albert Ayler for a recording.
On the evening of June 28, 1964, Dolphy collapsed on the streets of Berlin and was brought to a hospital. The attending hospital physicians, who had no idea that Dolphy was a diabetic, thought that he (like so many other jazz musicians) had overdosed on drugs, so they left him to lie in a hospital bed until the “drugs” had run their course.
Out to Lunch is one of the finest records of its kind. This record is easily at the caliber of A Love Supreme and The Shape of Jazz to Come. That may seem a mighty bold statement. But this is an outstanding reality once we consider how Dolphy shows himself as solid bandleader and arranger who opens up plenty of room for his players. Much in the ideology of his fellow avant-garde players, the solos exude experiment. Yet Dolphy’s control is masterful and no matter how far out he gets, you can feel his passion and know his path has been well articulated.
Original Release Date: February 25, 1964 (Label: Blue Note Records)
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Across Rhythm 