Eric Dolphy Music

Dolphy first album I've heard and I love him thence. He plays on bass clarinet - Epistrophy, Hypochristmutreefuzz
flute -South street exit and You don't know what love is - maybe most beautiful flute solo I've ever heard
alto sax - The Madrig speak, the Panther walks and Miss Ann - both superb. Great music. Mix of bop and free jazz. Dolphy plays with unusual feeling and emotion.
Highly recommend.

Expressive and explosive album, with dutch rhythm section of Misha Mengelberg. Dolphy's last album (recorded june 2nd, 1964) before his death on june 29, 1964. Don't read, buy!

Although there is very little footage of Eric Dolphy (ED) in this informative documentry,the film still manages to capture the essence of this beautiful brother. It seems that ED knew what he wanted to do at a early age. His level of commitment is truely endearing, as this is conveyed through interviews (early in the film) with relatives, music instructors, and acquaintences. ED could have given up his pursuits of a musical quest because as teenage he had applied to play with the L.A.Symphony, but was turned down do his "color". Fortunately for us ED persevere, and continued pursuits musical creativety. This a beautiful film about a beautiful individual. Truely one of the great jazz gaints, whose career was cut to short in part by a miss diagnosis hypoglycemia.

Dolphy first album I've heard and I love him thence. He plays on bass clarinet - Epistrophy, Hypochristmutreefuzz
flute -South street exit and You don't know what love is - maybe most beautiful flute solo I've ever heard
alto sax - The Madrig speak, the Panther walks and Miss Ann - both superb. Great music. Mix of bop and free jazz. Dolphy plays with unusual feeling and emotion.
Highly recommend.

For this Dolphy fan, Last Date stands the test of time as one of his finest performances. Recommended to any jazzcat into 60's avant. Dolphy explodes on bass clarinet on his version of Monk's classic, Epistrophy. Dolphy, Epistrophy...hmmm? The drum and bass work is nothing special but the Scandanavian team does the job. The piano player (also Scandanavian) is a nice surprise with interesting melodic and rhythmic chord placements. All in all, one of Dolphy's best and one to go back to time and time again for new insights. There's even a quote from Eric after the final track. A must buy for anyone who says they're seriously into jazz.

Although previous reviewers pointed out the excellent quality of the music on this disc, and none of them mentioned the not-so-excellent sound-quality (due to studio-recordings that probably were meant for radio-broadcasting), I'm forced to comment on their reviews of the sidemen. Misha Mengelberg, Han Bennink and Jacques Schols do not just provide a NICE background; they provide an EXCELLENT basis on which Dolphy could do his thing so well. They where then, and Mengelberg and Bennink are still, part of the European Improvisation Avant Garde. Besides that, all three of them are citizens of THE NETHERLANDS, which is not a part of Scandinavia.

Now back to the music. If you like the exciting jazz-sound of the sixties, and you don't already own this album, buy it!! Dolphy will not disappoint you.

Eric Dolphy's career was tragically brief and his studio output - particularly as a leader - quite small, with the result that live albums, most of them recorded in Europe with pick-up rhythm sections, account for much of his legacy. LAST DATE, recorded in Hilversum, Holland on June 2, 1964 (twenty-seven days before Dolphy's death; in fact, it wasn't his last show, nor even his last recording, but that's beside the point) is easily the best of these that I've heard, and ranks among the best of Dolphy's albums overall. The Dutch rhythm section, especially pianist Misja Mengelberg, provides an inspired context for Dolphy's matchless blowing on all three of his primary instruments, and the track selection, uniquely among Dolphy's live recordings, consists primarily of original compositions. Three of Dolphy's own numbers are featured: the alto saxophone workouts "The Madrig Speaks, the Panther Walks" (also known as "Mandrake") and "Miss Ann," both featuring the inside-out tones, slippery phrasing and indefatigable energy so characteristic of Dolphy's alto playing; and the bright, upbeat flute piece "South Street Exit," with Dolphy far better recorded here than in the undermiked version on THE ILLINOIS CONCERT. Mengelberg contributes "Hypochristmuhtreefuzz," a very Dolphyish piece which the leader essays on bass clarinet. The two covers, each over eleven minutes in length, are both masterpieces. Thelonious Monk's "Epistrophy" features an exhaustive performance by Dolphy on bass clarinet, as well as nice, tight solos from Mengelberg and the others, underscoring both the significant influence of Monk's music on Dolphy and twhat a sorry loss it is to the jazz world that these two giants of the "outside" never recorded together. Back on flute, Dolphy gives the oft-covered ballad "You Don't Know What Love Is" far and away the most beautiful treatment I've heard; this may be the most outstanding of his performances on that most demanding of reed instruments. It's worth noting that LAST DATE is also unique among Dolphy's albums in giving the least disc time to alto sax numbers, as that is usually his most prominently-featured instrument. A final brief comment from Dolphy - the only recording of his voice I know of, in fact - closes out this extremely satisfying album from a truly great and underappreciated artist, which is also - fortunately - one of the easiest of his recordings to obtain.

Dolphy is far and away one of the most sensitive and most technically sophisticated players to ever live. His music on this date is particularly sensitive even by his standards. It gives me chills every time I listen to it. In all of Dolphy's music you can hear him stretching for something. In this album I can hear him reaching what he was always reaching for...if only just barely. His flute playing in particular is beyond words...one can almost hear his soul being set free.
It is tragic he died so young. I have heard rumors Misha is holding on to additional recordings from this meeting; if this is true I pray he releases them.

Although there is very little footage of Eric Dolphy (ED) in this informative documentry,the film still manages to capture the essence of this beautiful brother. It seems that ED knew what he wanted to do at a early age. His level of commitment is truely endearing, as this is conveyed through interviews (early in the film) with relatives, music instructors, and acquaintences. ED could have given up his pursuits of a musical quest because as teenage he had applied to play with the L.A.Symphony, but was turned down do his "color". Fortunately for us ED persevere, and continued pursuits musical creativety. This a beautiful film about a beautiful individual. Truely one of the great jazz gaints, whose career was cut to short in part by a miss diagnosis hypoglycemia.

With Herbie Hancock on Piano, Richard Davis on bass, a trumpeter and even a vocalist on "I Got Rhythm," this incomplete 1962 performance certainly ranks as one of the more unique and bizarre entries in Eric Dolphy's patchwork catalogue. Bootleg sound quality, the sudden fadeout on "245" (of all tracks!) and those rather horrid vocals notwithstanding, however, LEFT ALONE is as close to an essential purchase as any verite recording could hope to be, with a marvelously extended assault on "GW" and some fine interplay on the title track, always one of Dolphy's greatest flute showcases. This album and Blue Note's THE ILLINOIS CONCERT are, to date, the only known recordings of Dolphy's band with Hancock; and having Davis on board only makes the moment, however flawed in its presentation, all the more precious. A new version of this disc is apparently soon to be released by the Italian Fruit Tree label, and all hardcore Dolphy fans who haven't done so yet are urged to add it to their collections.