Eric Dolphy Music

Due to the sad circumstances of his early death, a sort of earnest gravity always seems to surround the work of Eric Dolphy, or discussions of it anyway. That makes this album--along with Dolphy's many musical "conversations" with Charles Mingus--a welcome reminder of how witty and sly Dolphy could be. Fittingly, the music here was recorded on April Fool's Day in 1960, with another musical comedian (and Mingus veteran), Jaki Byard, proving a superb prankster-at-arms. The music here joyfully sends up everything from the "new thing" of Ornette Coleman to the stately seriousness of the Miles Davis Quintet. The band here even does a humourous deconstruction of the Davis group's beloved "On Green Dolphin Street." The Coleman-like Dolphy originals like "Les" and "G.W." will get your feet moving and erase any idea that "avant garde" has to mean "self-important". Throughout, drummer Roy Haynes is his usual, tasteful self, and only trumpet player Freddie Hubbard doesn't seem to be entirely in on the joke, playing with an earnestness that makes the rest of the proceedings all the funnier. Outward Bound is a joyous record that takes all the jazz styles then current and takes them for a ride.

Eric Dolphy is one of this countries least appreciated genius, and his music and performances continue to awe and inspire. Mastering alto sax is a job in itself, but to add clarinet and flute to his arsenal is quite an accomplishment. Eric Dolphy has to be heard to be "understood". Words simply won't do.

Happy hour's with Eric Dolphy and friends
You will keep on smiling all day

dolphy and hubbard on green dolphin street. dolphy and hubbard trading licks on les. on 245 first hubbard followed by dolphy put down brilliant blues improvisations. eric dolphy backed by george tucker on bass and roy haynes on drums plays a beautiful flute rendition of glad to be unhappy. and the remaining tunes g w and miss toni fill out the recording nicely. jackie byard is on piano.

"Outward Bound" features Dolphy on his first venture as a leader performing some post-bop works, recorded in 1960 at Englewood Cliffs at the famous Rudy Van Gelder studio. This album was a foreshadowing of what lay in store on following albums released by Eric Dolphy. The alto saxophone playing, bass clarinet donning, flute wielding compositional innovator, who peaked on "Out to Lunch", is heard here laying the foundation for his magnum opus.

Dolphy's alto saxophone was so unique and intelligent, belting out those fast notes in ways only he seemed to comprehend. He has influenced the entire genre of free jazz greatly and continues to do so each time some promising young artist stumbles upon his work. This Fantasy Jazz release of such a seminal and imperative album in the Dolphy repertoire belongs on your shelf, not a store shelf.

Personnel:

Eric Dolphy (alto saxophone, bass clarinet, flute)
Freddie Hubbard (trumpet)
Jackie Byard (piano)
George Tucker (bass)
Roy Haynes (drums)

Many times people point to the very last Dolphy recordings ashis best ones or as the ones most representative of "hisstyle". While I wouldn't argue that he made fantastic recordings near the end of his life, don't overlook his "early" gems like this one, OUTWARD BOUND. The crown jewel of this cd is ON GREEN DOLPHIN STREET. Freddie Hubbard uses the mute and gets great tone from it, and Dolphy is on bass clarinet and he gets his usual great tone from it as well. Many people have done this tune over the years but this is my hands-down favorite version. This version just "walks" differently than all other versions I've heard and after hearing this one I realize that this song and the bass clarinet go together perfectly. Dolphy's DOLPHIN playing (and arrangement) alone is worth the price of the cd. 245 has some of the most blues-drenched playing from Hubbard I've ever heard him do, especially the very opening phrase of his solo. I personally still have trouble getting into the flute on very mellow jazz tunes so GLAD TO BE UNHAPPY doesn't do much for me, but if you like that sort of thing he does play well on it. All in all, this is a cd that is well worth owning and it will only add to the reasons why you wish Dolphy wouldn't have died so young.

"Outward Bound" features Dolphy on his first venture as a leader performing some post-bop works, recorded in 1960 at Englewood Cliffs at the famous Rudy Van Gelder studio. This album was a foreshadowing of what lay in store on following albums released by Eric Dolphy. The alto saxophone playing, bass clarinet donning, flute wielding compositional innovator, who peaked on "Out to Lunch", is heard here laying the foundation for his magnum opus.

Dolphy's alto saxophone was so unique and intelligent, belting out those fast notes in ways only he seemed to comprehend. He has influenced the entire genre of free jazz greatly and continues to do so each time some promising young artist stumbles upon his work. This Fantasy Jazz release of such a seminal and imperative album in the Dolphy repertoire belongs on your shelf, not a store shelf.

Personnel:

Eric Dolphy (alto saxophone, bass clarinet, flute)
Freddie Hubbard (trumpet)
Jackie Byard (piano)
George Tucker (bass)
Roy Haynes (drums)

Many times people point to the very last Dolphy recordings ashis best ones or as the ones most representative of "hisstyle". While I wouldn't argue that he made fantastic recordings near the end of his life, don't overlook his "early" gems like this one, OUTWARD BOUND. The crown jewel of this cd is ON GREEN DOLPHIN STREET. Freddie Hubbard uses the mute and gets great tone from it, and Dolphy is on bass clarinet and he gets his usual great tone from it as well. Many people have done this tune over the years but this is my hands-down favorite version. This version just "walks" differently than all other versions I've heard and after hearing this one I realize that this song and the bass clarinet go together perfectly. Dolphy's DOLPHIN playing (and arrangement) alone is worth the price of the cd. 245 has some of the most blues-drenched playing from Hubbard I've ever heard him do, especially the very opening phrase of his solo. I personally still have trouble getting into the flute on very mellow jazz tunes so GLAD TO BE UNHAPPY doesn't do much for me, but if you like that sort of thing he does play well on it. All in all, this is a cd that is well worth owning and it will only add to the reasons why you wish Dolphy wouldn't have died so young.

"Outward Bound" features Dolphy on his first venture as a leader performing some post-bop works, recorded in 1960 at Englewood Cliffs at the famous Rudy Van Gelder studio. This album was a foreshadowing of what lay in store on following albums released by Eric Dolphy. The alto saxophone playing, bass clarinet donning, flute wielding compositional innovator, who peaked on "Out to Lunch", is heard here laying the foundation for his magnum opus.

Dolphy's alto saxophone was so unique and intelligent, belting out those fast notes in ways only he seemed to comprehend. He has influenced the entire genre of free jazz greatly and continues to do so each time some promising young artist stumbles upon his work. This Fantasy Jazz release of such a seminal and imperative album in the Dolphy repertoire belongs on your shelf, not a store shelf.

Personnel:

Eric Dolphy (alto saxophone, bass clarinet, flute)
Freddie Hubbard (trumpet)
Jackie Byard (piano)
George Tucker (bass)
Roy Haynes (drums)

Many times people point to the very last Dolphy recordings ashis best ones or as the ones most representative of "hisstyle". While I wouldn't argue that he made fantastic recordings near the end of his life, don't overlook his "early" gems like this one, OUTWARD BOUND. The crown jewel of this cd is ON GREEN DOLPHIN STREET. Freddie Hubbard uses the mute and gets great tone from it, and Dolphy is on bass clarinet and he gets his usual great tone from it as well. Many people have done this tune over the years but this is my hands-down favorite version. This version just "walks" differently than all other versions I've heard and after hearing this one I realize that this song and the bass clarinet go together perfectly. Dolphy's DOLPHIN playing (and arrangement) alone is worth the price of the cd. 245 has some of the most blues-drenched playing from Hubbard I've ever heard him do, especially the very opening phrase of his solo. I personally still have trouble getting into the flute on very mellow jazz tunes so GLAD TO BE UNHAPPY doesn't do much for me, but if you like that sort of thing he does play well on it. All in all, this is a cd that is well worth owning and it will only add to the reasons why you wish Dolphy wouldn't have died so young.

Eric Dolphy was one of the true musical innovators of the 20th century. Outward Bound was his debut as a leader. With an astonishing command of the alto sax, flute, and bass clarinet, he could do it all. Dolphy played with the speed and fury of Charlie Parker but with a gentleness and grace all his own. While most of his music fell into the "avant-garde" category, the material here is much more accessible than his later works. If you're just discovering Eric Dolphy, this album is the perfect introduction.

For Prestige's 50th anniversary, the label has just released a newly remastered version of Outward Bound, along with nine other titles from their catalog. Utilizing K2 20-bit technology, the sound quality on all of them is astounding. You won't believe your ears when you hear how great these discs sound. The best part of all--they don't cost anymore than a regular CD. Collectors take note: each title is limited to 10,000 copies. Get 'em while you can...

excellent album! this was my first step into the melodically twisted world of the late Eric Dolphy. he was a multi-instrumentalist who (apparently) had such a good nature that he was dubbed "St. Eric" by his peers. his playing is certainly divine and these compositions are full of unique little corners of new sound. rooted in the popular be-bop sound of the times, but the performances show a willingness to reach out and explore the possibilities. Outward Bound is a great album to delve into after you've experienced the genius of Dolphy's breathtaking masterpiece Out To Lunch.

Extremely expressive and remains today on the cutting edge of jazz style. Contains some virtuosity, as does all Dolphy, but the depth of feeling and creativity is the message. Solo bass clarinet passages are truly moving and still very unique. Sometimes edgy and not always "pretty" - it does have some discordant passages and rhythms. Heard this 30 years ago and remember how struck I was. This is a window to a new and mysterious world, the inside of an artist, not a showman.