Eric Dolphy Music

Eric Dolphy is one of those true musical giants that transposed the muusical sound to far into the future. In my opinion when you speak of Miles, Monk, Mingus, Ellington, Coltrane among others, Eric Dolphy should fit into the mix somewhere. A true genius. This record is a milestone for the bop modern jazz/avant garde genre. Miles ahead of the field screaming off into space. The instrumental is very interesting in that it combines the combination of cello (Ron Carter) with bass (George Duvivier) along with Eric on alto sax/B flat and bass clarinets and the ever creative and rock steady Roy Haynes on drums. Everyone's playing is in extreme overdrive/fast forward. The sound is truely incredible and not to be missed my any lover of great modern/bop jazz. A masterwork of pure genius to be sure. The internal structure of the sound is such that it moves and sways into and out of tonal and atonal modes like clockwork. Recorded in 1960 by the legendary Rudy Van Gelder in should be in everyone's musical library. Cataloge this one under (Extreme power fusion/bop/modern jazz with a whole lot of soul). Dynamite. If you could rate one 10 stars this would fit into that groove. Don't miss this one, it's the real deal. Grab it and groove. Let you soul run free.

dolphy on alto on the title track blows like a steady wind across a long corrugated surface. pair this with any piece by charlie parker on your player and you're really in for a treat of alto playing. dolphy's other alto offering on out there is feathers, my favorite selection, opens as a ballad, which, surprisingly, would make it an incongruous choice among the other tunes did it not spread its wings and -- swing.

what else? monk's eclipse is eerie, dolphy on clarinet and ron carter on cello, now that's out there.

other selections feature dolphy on his usual flute and bass clarinet. here more palatable than say, on out to lunch.

an excellent addition to a jazz collection. file under saxophonists, late 40s to early 60s.

Dolphy's playing on this album is remarkable, his flow of ideas endless and his lines all over the place, in a good way. His flute work on "sketches of melba" is the best i ever heard on that instrument. Alot of people seem to like Ron Carter on cello, and I did too at first, before i really listened to it. On the slow tunes it is horridly out of tune and sloppier than most kids at my high school play. As a classically trained musician, it is at times unbearable to listen to him fumble so much. Some of his lines are good and a few great, him being ron carter and all, but at times it clearly detracts from the music for me. I'm not a stickler for clean technique or perfect pitch, but my god i'd be embarassed to play what he plays at times. Anyways, get this album for Dolphy's ingenius approach to improvisation.

This 1960 recording constitutes my first exposure to the works of Eric Dolphy and I found the listening experience to be rich. Surprisingly, for a record of "free-jazz" this was not as out there (this was not intentional) as I expected and Eric favors an almost polite approach to what is essentially third stream music.

The lineup on this album includes the late Eric Dolphy (alto saxophone, flute, Bb and bass clarinets), Ron Carter (cello), George Duvivier (acoustic bass) and Roy Haynes (drums). This is a fantastic ensemble that is capable of great ensemble work and superb soloing. One unexpected treat was to hear the great bassist Ron Carter on cello - he is a fantastic cellist as well and started out on this instrument in a classical setting. Indeed, along with Eric's astounding abilities on woodwinds (particularly the bass clarinet), the introduction of the cello as a solo instrument adds a textural element that you do not find too often in jazz. With respect to the rhythm section, George not only provides excellent counterpoint, but turns in some great solos on his own and Roy provides a solid foundation.

This album primarily features compositions by Eric, with the exception of Out There which was co-authored with Charles Mingus, and a few covers including Eclipse (Mingus), Sketch of Melba (Randy Weston) and Feathers (Hale Smith). The pieces are in large part, what one might consider "straight" jazz, although the at times, atonal torrents of notes on the woodwinds and the odd sound of a cello in this context lends it a bit of an edge. I have to admit that Ron's cello parts are fascinating and at times it sounds as if he is playing a completely different melody than Eric; with only a few notes used as common points that link the two players. The melody lines are highly angular and at points, seem to on the verge of veering out of control, only to fall back on track in a split second. Odd meters are also used a lot although for the most part, this album "swings" and breathes freely, like a lot of the hard bop that I am familiar with.

This Hybrid Super Audio Compact Disc (SA-CD) boasts fantastic sound, although I have yet to make full use of the SACD layers. As played through a set of excellent Bose headphones, there is great separation of individual instruments and both the highs and lows sound natural.

All in all, this is a fantastic recording of fascinating free jazz that showcases the exhilarating talents of Eric Dolphy and is highly recommended.

4.5 stars. This makes for a very enjoyable listen. Many recordings from the early 1960s sound dated--to me, this one has a timeless quality. The combination of Dolphy's unique style (on several instruments) and Ron Carter's cello work (both bowed and picked), makes for some rare sounds and harmonies. The main reason I've docked OUT THERE half a notch is that the leader's solos ramble a bit much (i.e., they are not as logicial and coherent as usual for him, at least to my ears) on a couple of the tracks. Overall, I prefer FAR CRY, the album Dolphy made a few months later with the outstanding young trumpeter Booker Little--don't miss that one. But OUT THERE is certainly also recommended if you're attuned to or becoming acquainted Dolphy's music. This CD is newly re-mastered and sounds great.

Eric Dolphy is one of those true musical giants that transposed the muusical sound to far into the future. In my opinion when you speak of Miles, Monk, Mingus, Ellington, Coltrane among others, Eric Dolphy should fit into the mix somewhere. A true genius. This record is a milestone for the bop modern jazz/avant garde genre. Miles ahead of the field screaming off into space. The instrumental is very interesting in that it combines the combination of cello (Ron Carter) with bass (George Duvivier) along with Eric on alto sax/B flat and bass clarinets and the ever creative and rock steady Roy Haynes on drums. Everyone's playing is in extreme overdrive/fast forward. The sound is truely incredible and not to be missed my any lover of great modern/bop jazz. A masterwork of pure genius to be sure. The internal structure of the sound is such that it moves and sways into and out of tonal and atonal modes like clockwork. Recorded in 1960 by the legendary Rudy Van Gelder in should be in everyone's musical library. Cataloge this one under (Extreme power fusion/bop/modern jazz with a whole lot of soul). Dynamite. If you could rate one 10 stars this would fit into that groove. Don't miss this one, it's the real deal. Grab it and groove. Let you soul run free.

dolphy on alto on the title track blows like a steady wind across a long corrugated surface. pair this with any piece by charlie parker on your player and you're really in for a treat of alto playing. dolphy's other alto offering on out there is feathers, my favorite selection, opens as a ballad, which, surprisingly, would make it an incongruous choice among the other tunes did it not spread its wings and -- swing.

what else? monk's eclipse is eerie, dolphy on clarinet and ron carter on cello, now that's out there.

other selections feature dolphy on his usual flute and bass clarinet. here more palatable than say, on out to lunch.

an excellent addition to a jazz collection. file under saxophonists, late 40s to early 60s.

Dolphy's playing on this album is remarkable, his flow of ideas endless and his lines all over the place, in a good way. His flute work on "sketches of melba" is the best i ever heard on that instrument. Alot of people seem to like Ron Carter on cello, and I did too at first, before i really listened to it. On the slow tunes it is horridly out of tune and sloppier than most kids at my high school play. As a classically trained musician, it is at times unbearable to listen to him fumble so much. Some of his lines are good and a few great, him being ron carter and all, but at times it clearly detracts from the music for me. I'm not a stickler for clean technique or perfect pitch, but my god i'd be embarassed to play what he plays at times. Anyways, get this album for Dolphy's ingenius approach to improvisation.

This 1960 recording constitutes my first exposure to the works of Eric Dolphy and I found the listening experience to be rich. Surprisingly, for a record of "free-jazz" this was not as out there (this was not intentional) as I expected and Eric favors an almost polite approach to what is essentially third stream music.

The lineup on this album includes the late Eric Dolphy (alto saxophone, flute, Bb and bass clarinets), Ron Carter (cello), George Duvivier (acoustic bass) and Roy Haynes (drums). This is a fantastic ensemble that is capable of great ensemble work and superb soloing. One unexpected treat was to hear the great bassist Ron Carter on cello - he is a fantastic cellist as well and started out on this instrument in a classical setting. Indeed, along with Eric's astounding abilities on woodwinds (particularly the bass clarinet), the introduction of the cello as a solo instrument adds a textural element that you do not find too often in jazz. With respect to the rhythm section, George not only provides excellent counterpoint, but turns in some great solos on his own and Roy provides a solid foundation.

This album primarily features compositions by Eric, with the exception of Out There which was co-authored with Charles Mingus, and a few covers including Eclipse (Mingus), Sketch of Melba (Randy Weston) and Feathers (Hale Smith). The pieces are in large part, what one might consider "straight" jazz, although the at times, atonal torrents of notes on the woodwinds and the odd sound of a cello in this context lends it a bit of an edge. I have to admit that Ron's cello parts are fascinating and at times it sounds as if he is playing a completely different melody than Eric; with only a few notes used as common points that link the two players. The melody lines are highly angular and at points, seem to on the verge of veering out of control, only to fall back on track in a split second. Odd meters are also used a lot although for the most part, this album "swings" and breathes freely, like a lot of the hard bop that I am familiar with.

This Hybrid Super Audio Compact Disc (SA-CD) boasts fantastic sound, although I have yet to make full use of the SACD layers. As played through a set of excellent Bose headphones, there is great separation of individual instruments and both the highs and lows sound natural.

All in all, this is a fantastic recording of fascinating free jazz that showcases the exhilarating talents of Eric Dolphy and is highly recommended.

4.5 stars. This makes for a very enjoyable listen. Many recordings from the early 1960s sound dated--to me, this one has a timeless quality. The combination of Dolphy's unique style (on several instruments) and Ron Carter's cello work (both bowed and picked), makes for some rare sounds and harmonies. The main reason I've docked OUT THERE half a notch is that the leader's solos ramble a bit much (i.e., they are not as logicial and coherent as usual for him, at least to my ears) on a couple of the tracks. Overall, I prefer FAR CRY, the album Dolphy made a few months later with the outstanding young trumpeter Booker Little--don't miss that one. But OUT THERE is certainly also recommended if you're attuned to or becoming acquainted Dolphy's music. This CD is newly re-mastered and sounds great.

Eric Dolphy was one of those rare musicians for he could straddle between the avant-garde jazz world and that of classical music--not even Wynton Marsalis can claim that virtue since he has outrightly put down the avant garde in print. If you're undecided about this form of jazz then do check out this album. This was one of Dolphy's last recorded U.S. effort and it's a stunner (you wonder how backward Downbeat was when they gave this a less than stellar rating). Backed by familiar co-horts such as Freddie Hubbard, Bobby Hutcherson and Richard Davis, the virtuoso Dolphy demonstrates his excellence with his own tunes like the Monk-dedicated, "Hat & Beard" to a tribute to a fellow flautist, "Gazzeloni". And let's not forget the great late Tony Williams on drums--the success of this album is due to the empathy between him and Dolphy. The only regret I have about the RVG version of this classic is that in the 20 bit remastering, separation is virtually lost and the sound is very thin, tinny. If you can, do get the original issue or at worse, the European edition. I traded the RVG version for an original issue which at that time was cheaper!! Other RVG releases to avoid are "Midnight Blue" ,"Unity", and "Speak No Evil"--get the original issues. Outside of that this album is recommended.

This was the last great studio album Dolphy was to record before his early death months later in Berlin in June of 1964. Some of his best works on bass clarinet and flute are found on here, including "Hat and Beard" and "Gazzelloni". Dolphy's bass clarinet skills are typically in the middle range and his phrasing and tonality are just amazing. Freddie Hubbard (t), who played on Dolphy's 1960 "Outward Bound" album returns on here to add his expertise. Richard Davis (b), who played on the 1961 "At the Five Spot" and 1963's "Music Matador", is also present on this date. Bobby Hutcherson (vibes) and Anthony Williams (d) were both new to Blue Note, and their presence on this album assured their longevity with the label. Considered by many fans and critics as the highpoint of Dolphy's career, "Out to Lunch" is certain to bring more fans flocking to Dolphy's work for years to come.

An utterly inaccessible but extremely worthwhile jazz masterpiece. There's no piano here - Dolphy plays a variety of woodwinds (bass clarinet on "Hat and Beard" and "Something Sweet, Something Tender"; flute on "Gazzelloni"; alto sax on the title cut and "Straight Up and Down"); and the band includes other famous jazz figures such as Tony Williams (soon to join Miles Davis and form his own group, Tony Williams Lifetime) on drums and Freddie Hubbard (also of Art Blakey's Jazz Messengers, Herbie Hancock's Maiden Voyage-era band, and the Coltrane group that made Ascension) playing trumpet. But the real star of the show is Dolphy, merging Monk's innovations in odd chord progression, Coleman's love of atypical harmonies, and Mingus' experiments with song structure - often, the themes are played in odd measures, giving them a tremendously off-kilter feel (the nervy "Straight Up and Down"; Monk tribute "Hat and Beard", with an insane vibraphone part from Bobby Hutcherson). The sole ballad of the set, "Something Sweet, Something Tender", mainly a duet between Dolph and bassist Ron Davis, is beautiful in a weird way, much like some of Coltrane's very last recordings. There's also a strange pseudo-classical experiment ("Gazzelloni") that's absolutely brilliant, because there is nothing else like it. And I do mean nothing - listen to Dolph's flute. It will dispel all notions of the instrument having a pleasant, easy-on-the-ears sound. It also will dispel all notions of vibes being pleasant and easy-on-the-ears, for those looking to see notions dispelled. It's an insane piece, which is precisely why I love it. That, and it has a bass solo. Those are always good. The amazing title track is probably the worst song here, but it would've been the best on any other album - again, the bass solo really is something. I gotta say, get this right now if you like Thelonious Monk, Ornette Coleman, and/or Charles Mingus - especially if you, like me, like all three of 'em. It's not for everybody, but it's very much worth a buy.

After listening to this recording, it was clear Dolphy more than successfully honed his distinct musical purpose. He created music worthy of inclusion into the musical canon. "Outward Bound" seemed like Dolphy transitioning from his Mingus days to his own style. "Out There" was a loose, fuzzy progression toward the "Out to Lunch" recording. "Out to Lunch" is much, much tighter and fully focused. There is not one unessential note on the entire cd. Dolphy's phrases are more exquisitely expressive than ever, with his juxtaposition of low and high notes and "animal sounds". Dolphy is a refreshing change from other heavyweights like Davis and Coltrane, because his does not have an intensely dramatic style. He is down to earth, someone who could describe the average joe's day in a beautiful song. His tone and technical virtuosity gets your attention, but he is not abrasive with either one, a pleasing trait very similar to Parker. As a Monk fan, I would have to say my favorite track on this album is "something sweet, something tender," largely because it is blues-laden, just like all Monk's music. And, like Monk, there is humor in his music, a kind of poking fun at grandiose melodrama, as the lazy chorus drags on "something tender, something sweet." Jocularity is also evident in the humorously uneventful title and cover. One can easily note after the first listen that "Out to Lunch" would not have been as monumental as it became without Hubbard, Hutcherson, Davis and Williams creating a moody, rich environment for Dolphy. This is an essential record.

The first time I heard this album, it was such a pleasant suprise. I've almost never heard a jazz record so unique and pleasant. It's a very creative album that simply sounds good. It seems like it's Dolphy at his best. At least of what I've heard of him.

I do suggest you give this album a listen before you buy it though. It seems that there are a few people who see everyone getting all excited over it, and after they buy it, they realize their taste does differ. Hopefully, though, you'll enjoy this album as much as I do. One of my favorite jazz albums yet.

Eric Dolphy was one of those rare musicians for he could straddle between the avant-garde jazz world and that of classical music--not even Wynton Marsalis can claim that virtue since he has outrightly put down the avant garde in print. If you're undecided about this form of jazz then do check out this album. This was one of Dolphy's last recorded U.S. effort and it's a stunner (you wonder how backward Downbeat was when they gave this a less than stellar rating). Backed by familiar co-horts such as Freddie Hubbard, Bobby Hutcherson and Richard Davis, the virtuoso Dolphy demonstrates his excellence with his own tunes like the Monk-dedicated, "Hat & Beard" to a tribute to a fellow flautist, "Gazzeloni". And let's not forget the great late Tony Williams on drums--the success of this album is due to the empathy between him and Dolphy. The only regret I have about the RVG version of this classic is that in the 20 bit remastering, separation is virtually lost and the sound is very thin, tinny. If you can, do get the original issue or at worse, the European edition. I traded the RVG version for an original issue which at that time was cheaper!! Other RVG releases to avoid are "Midnight Blue" ,"Unity", and "Speak No Evil"--get the original issues. Outside of that this album is recommended.

This was the last great studio album Dolphy was to record before his early death months later in Berlin in June of 1964. Some of his best works on bass clarinet and flute are found on here, including "Hat and Beard" and "Gazzelloni". Dolphy's bass clarinet skills are typically in the middle range and his phrasing and tonality are just amazing. Freddie Hubbard (t), who played on Dolphy's 1960 "Outward Bound" album returns on here to add his expertise. Richard Davis (b), who played on the 1961 "At the Five Spot" and 1963's "Music Matador", is also present on this date. Bobby Hutcherson (vibes) and Anthony Williams (d) were both new to Blue Note, and their presence on this album assured their longevity with the label. Considered by many fans and critics as the highpoint of Dolphy's career, "Out to Lunch" is certain to bring more fans flocking to Dolphy's work for years to come.

An utterly inaccessible but extremely worthwhile jazz masterpiece. There's no piano here - Dolphy plays a variety of woodwinds (bass clarinet on "Hat and Beard" and "Something Sweet, Something Tender"; flute on "Gazzelloni"; alto sax on the title cut and "Straight Up and Down"); and the band includes other famous jazz figures such as Tony Williams (soon to join Miles Davis and form his own group, Tony Williams Lifetime) on drums and Freddie Hubbard (also of Art Blakey's Jazz Messengers, Herbie Hancock's Maiden Voyage-era band, and the Coltrane group that made Ascension) playing trumpet. But the real star of the show is Dolphy, merging Monk's innovations in odd chord progression, Coleman's love of atypical harmonies, and Mingus' experiments with song structure - often, the themes are played in odd measures, giving them a tremendously off-kilter feel (the nervy "Straight Up and Down"; Monk tribute "Hat and Beard", with an insane vibraphone part from Bobby Hutcherson). The sole ballad of the set, "Something Sweet, Something Tender", mainly a duet between Dolph and bassist Ron Davis, is beautiful in a weird way, much like some of Coltrane's very last recordings. There's also a strange pseudo-classical experiment ("Gazzelloni") that's absolutely brilliant, because there is nothing else like it. And I do mean nothing - listen to Dolph's flute. It will dispel all notions of the instrument having a pleasant, easy-on-the-ears sound. It also will dispel all notions of vibes being pleasant and easy-on-the-ears, for those looking to see notions dispelled. It's an insane piece, which is precisely why I love it. That, and it has a bass solo. Those are always good. The amazing title track is probably the worst song here, but it would've been the best on any other album - again, the bass solo really is something. I gotta say, get this right now if you like Thelonious Monk, Ornette Coleman, and/or Charles Mingus - especially if you, like me, like all three of 'em. It's not for everybody, but it's very much worth a buy.

After listening to this recording, it was clear Dolphy more than successfully honed his distinct musical purpose. He created music worthy of inclusion into the musical canon. "Outward Bound" seemed like Dolphy transitioning from his Mingus days to his own style. "Out There" was a loose, fuzzy progression toward the "Out to Lunch" recording. "Out to Lunch" is much, much tighter and fully focused. There is not one unessential note on the entire cd. Dolphy's phrases are more exquisitely expressive than ever, with his juxtaposition of low and high notes and "animal sounds". Dolphy is a refreshing change from other heavyweights like Davis and Coltrane, because his does not have an intensely dramatic style. He is down to earth, someone who could describe the average joe's day in a beautiful song. His tone and technical virtuosity gets your attention, but he is not abrasive with either one, a pleasing trait very similar to Parker. As a Monk fan, I would have to say my favorite track on this album is "something sweet, something tender," largely because it is blues-laden, just like all Monk's music. And, like Monk, there is humor in his music, a kind of poking fun at grandiose melodrama, as the lazy chorus drags on "something tender, something sweet." Jocularity is also evident in the humorously uneventful title and cover. One can easily note after the first listen that "Out to Lunch" would not have been as monumental as it became without Hubbard, Hutcherson, Davis and Williams creating a moody, rich environment for Dolphy. This is an essential record.

The first time I heard this album, it was such a pleasant suprise. I've almost never heard a jazz record so unique and pleasant. It's a very creative album that simply sounds good. It seems like it's Dolphy at his best. At least of what I've heard of him.

I do suggest you give this album a listen before you buy it though. It seems that there are a few people who see everyone getting all excited over it, and after they buy it, they realize their taste does differ. Hopefully, though, you'll enjoy this album as much as I do. One of my favorite jazz albums yet.

Eric Dolphy was one of those rare musicians for he could straddle between the avant-garde jazz world and that of classical music--not even Wynton Marsalis can claim that virtue since he has outrightly put down the avant garde in print. If you're undecided about this form of jazz then do check out this album. This was one of Dolphy's last recorded U.S. effort and it's a stunner (you wonder how backward Downbeat was when they gave this a less than stellar rating). Backed by familiar co-horts such as Freddie Hubbard, Bobby Hutcherson and Richard Davis, the virtuoso Dolphy demonstrates his excellence with his own tunes like the Monk-dedicated, "Hat & Beard" to a tribute to a fellow flautist, "Gazzeloni". And let's not forget the great late Tony Williams on drums--the success of this album is due to the empathy between him and Dolphy. The only regret I have about the RVG version of this classic is that in the 20 bit remastering, separation is virtually lost and the sound is very thin, tinny. If you can, do get the original issue or at worse, the European edition. I traded the RVG version for an original issue which at that time was cheaper!! Other RVG releases to avoid are "Midnight Blue" ,"Unity", and "Speak No Evil"--get the original issues. Outside of that this album is recommended.

This was the last great studio album Dolphy was to record before his early death months later in Berlin in June of 1964. Some of his best works on bass clarinet and flute are found on here, including "Hat and Beard" and "Gazzelloni". Dolphy's bass clarinet skills are typically in the middle range and his phrasing and tonality are just amazing. Freddie Hubbard (t), who played on Dolphy's 1960 "Outward Bound" album returns on here to add his expertise. Richard Davis (b), who played on the 1961 "At the Five Spot" and 1963's "Music Matador", is also present on this date. Bobby Hutcherson (vibes) and Anthony Williams (d) were both new to Blue Note, and their presence on this album assured their longevity with the label. Considered by many fans and critics as the highpoint of Dolphy's career, "Out to Lunch" is certain to bring more fans flocking to Dolphy's work for years to come.

An utterly inaccessible but extremely worthwhile jazz masterpiece. There's no piano here - Dolphy plays a variety of woodwinds (bass clarinet on "Hat and Beard" and "Something Sweet, Something Tender"; flute on "Gazzelloni"; alto sax on the title cut and "Straight Up and Down"); and the band includes other famous jazz figures such as Tony Williams (soon to join Miles Davis and form his own group, Tony Williams Lifetime) on drums and Freddie Hubbard (also of Art Blakey's Jazz Messengers, Herbie Hancock's Maiden Voyage-era band, and the Coltrane group that made Ascension) playing trumpet. But the real star of the show is Dolphy, merging Monk's innovations in odd chord progression, Coleman's love of atypical harmonies, and Mingus' experiments with song structure - often, the themes are played in odd measures, giving them a tremendously off-kilter feel (the nervy "Straight Up and Down"; Monk tribute "Hat and Beard", with an insane vibraphone part from Bobby Hutcherson). The sole ballad of the set, "Something Sweet, Something Tender", mainly a duet between Dolph and bassist Ron Davis, is beautiful in a weird way, much like some of Coltrane's very last recordings. There's also a strange pseudo-classical experiment ("Gazzelloni") that's absolutely brilliant, because there is nothing else like it. And I do mean nothing - listen to Dolph's flute. It will dispel all notions of the instrument having a pleasant, easy-on-the-ears sound. It also will dispel all notions of vibes being pleasant and easy-on-the-ears, for those looking to see notions dispelled. It's an insane piece, which is precisely why I love it. That, and it has a bass solo. Those are always good. The amazing title track is probably the worst song here, but it would've been the best on any other album - again, the bass solo really is something. I gotta say, get this right now if you like Thelonious Monk, Ornette Coleman, and/or Charles Mingus - especially if you, like me, like all three of 'em. It's not for everybody, but it's very much worth a buy.

After listening to this recording, it was clear Dolphy more than successfully honed his distinct musical purpose. He created music worthy of inclusion into the musical canon. "Outward Bound" seemed like Dolphy transitioning from his Mingus days to his own style. "Out There" was a loose, fuzzy progression toward the "Out to Lunch" recording. "Out to Lunch" is much, much tighter and fully focused. There is not one unessential note on the entire cd. Dolphy's phrases are more exquisitely expressive than ever, with his juxtaposition of low and high notes and "animal sounds". Dolphy is a refreshing change from other heavyweights like Davis and Coltrane, because his does not have an intensely dramatic style. He is down to earth, someone who could describe the average joe's day in a beautiful song. His tone and technical virtuosity gets your attention, but he is not abrasive with either one, a pleasing trait very similar to Parker. As a Monk fan, I would have to say my favorite track on this album is "something sweet, something tender," largely because it is blues-laden, just like all Monk's music. And, like Monk, there is humor in his music, a kind of poking fun at grandiose melodrama, as the lazy chorus drags on "something tender, something sweet." Jocularity is also evident in the humorously uneventful title and cover. One can easily note after the first listen that "Out to Lunch" would not have been as monumental as it became without Hubbard, Hutcherson, Davis and Williams creating a moody, rich environment for Dolphy. This is an essential record.

The first time I heard this album, it was such a pleasant suprise. I've almost never heard a jazz record so unique and pleasant. It's a very creative album that simply sounds good. It seems like it's Dolphy at his best. At least of what I've heard of him.

I do suggest you give this album a listen before you buy it though. It seems that there are a few people who see everyone getting all excited over it, and after they buy it, they realize their taste does differ. Hopefully, though, you'll enjoy this album as much as I do. One of my favorite jazz albums yet.

Eric Dolphy was one of those rare musicians for he could straddle between the avant-garde jazz world and that of classical music--not even Wynton Marsalis can claim that virtue since he has outrightly put down the avant garde in print. If you're undecided about this form of jazz then do check out this album. This was one of Dolphy's last recorded U.S. effort and it's a stunner (you wonder how backward Downbeat was when they gave this a less than stellar rating). Backed by familiar co-horts such as Freddie Hubbard, Bobby Hutcherson and Richard Davis, the virtuoso Dolphy demonstrates his excellence with his own tunes like the Monk-dedicated, "Hat & Beard" to a tribute to a fellow flautist, "Gazzeloni". And let's not forget the great late Tony Williams on drums--the success of this album is due to the empathy between him and Dolphy. The only regret I have about the RVG version of this classic is that in the 20 bit remastering, separation is virtually lost and the sound is very thin, tinny. If you can, do get the original issue or at worse, the European edition. I traded the RVG version for an original issue which at that time was cheaper!! Other RVG releases to avoid are "Midnight Blue" ,"Unity", and "Speak No Evil"--get the original issues. Outside of that this album is recommended.

This was the last great studio album Dolphy was to record before his early death months later in Berlin in June of 1964. Some of his best works on bass clarinet and flute are found on here, including "Hat and Beard" and "Gazzelloni". Dolphy's bass clarinet skills are typically in the middle range and his phrasing and tonality are just amazing. Freddie Hubbard (t), who played on Dolphy's 1960 "Outward Bound" album returns on here to add his expertise. Richard Davis (b), who played on the 1961 "At the Five Spot" and 1963's "Music Matador", is also present on this date. Bobby Hutcherson (vibes) and Anthony Williams (d) were both new to Blue Note, and their presence on this album assured their longevity with the label. Considered by many fans and critics as the highpoint of Dolphy's career, "Out to Lunch" is certain to bring more fans flocking to Dolphy's work for years to come.

An utterly inaccessible but extremely worthwhile jazz masterpiece. There's no piano here - Dolphy plays a variety of woodwinds (bass clarinet on "Hat and Beard" and "Something Sweet, Something Tender"; flute on "Gazzelloni"; alto sax on the title cut and "Straight Up and Down"); and the band includes other famous jazz figures such as Tony Williams (soon to join Miles Davis and form his own group, Tony Williams Lifetime) on drums and Freddie Hubbard (also of Art Blakey's Jazz Messengers, Herbie Hancock's Maiden Voyage-era band, and the Coltrane group that made Ascension) playing trumpet. But the real star of the show is Dolphy, merging Monk's innovations in odd chord progression, Coleman's love of atypical harmonies, and Mingus' experiments with song structure - often, the themes are played in odd measures, giving them a tremendously off-kilter feel (the nervy "Straight Up and Down"; Monk tribute "Hat and Beard", with an insane vibraphone part from Bobby Hutcherson). The sole ballad of the set, "Something Sweet, Something Tender", mainly a duet between Dolph and bassist Ron Davis, is beautiful in a weird way, much like some of Coltrane's very last recordings. There's also a strange pseudo-classical experiment ("Gazzelloni") that's absolutely brilliant, because there is nothing else like it. And I do mean nothing - listen to Dolph's flute. It will dispel all notions of the instrument having a pleasant, easy-on-the-ears sound. It also will dispel all notions of vibes being pleasant and easy-on-the-ears, for those looking to see notions dispelled. It's an insane piece, which is precisely why I love it. That, and it has a bass solo. Those are always good. The amazing title track is probably the worst song here, but it would've been the best on any other album - again, the bass solo really is something. I gotta say, get this right now if you like Thelonious Monk, Ornette Coleman, and/or Charles Mingus - especially if you, like me, like all three of 'em. It's not for everybody, but it's very much worth a buy.

After listening to this recording, it was clear Dolphy more than successfully honed his distinct musical purpose. He created music worthy of inclusion into the musical canon. "Outward Bound" seemed like Dolphy transitioning from his Mingus days to his own style. "Out There" was a loose, fuzzy progression toward the "Out to Lunch" recording. "Out to Lunch" is much, much tighter and fully focused. There is not one unessential note on the entire cd. Dolphy's phrases are more exquisitely expressive than ever, with his juxtaposition of low and high notes and "animal sounds". Dolphy is a refreshing change from other heavyweights like Davis and Coltrane, because his does not have an intensely dramatic style. He is down to earth, someone who could describe the average joe's day in a beautiful song. His tone and technical virtuosity gets your attention, but he is not abrasive with either one, a pleasing trait very similar to Parker. As a Monk fan, I would have to say my favorite track on this album is "something sweet, something tender," largely because it is blues-laden, just like all Monk's music. And, like Monk, there is humor in his music, a kind of poking fun at grandiose melodrama, as the lazy chorus drags on "something tender, something sweet." Jocularity is also evident in the humorously uneventful title and cover. One can easily note after the first listen that "Out to Lunch" would not have been as monumental as it became without Hubbard, Hutcherson, Davis and Williams creating a moody, rich environment for Dolphy. This is an essential record.

The first time I heard this album, it was such a pleasant suprise. I've almost never heard a jazz record so unique and pleasant. It's a very creative album that simply sounds good. It seems like it's Dolphy at his best. At least of what I've heard of him.

I do suggest you give this album a listen before you buy it though. It seems that there are a few people who see everyone getting all excited over it, and after they buy it, they realize their taste does differ. Hopefully, though, you'll enjoy this album as much as I do. One of my favorite jazz albums yet.