Eric Dolphy Music

I first became aware of Mal Waldron's genius through his interpretation of "Smoke Gets In Your Eyes." He introduced a certain richness to that song. Fast forward ten years later. I was watching an internet clip when I heard the song "Fire Waltz" from this CD. Somebody was kind enough to put a title to the song. I hurriedly ordered this CD from this site. By the way, on that same internet clip, someone commented that it was the best song on that popular site. While this might be hyperbole, "Fire Waltz" is simply amazing. Check out also "Thirteen," "We Diddit," and "Warm Canto." This is a must have. Booker Ervin can flat play the tenor.

This album gives me goosebumps. I got it because of Eric Dolphy, but there is a lot more to listen to on this album than Eric Dolphy alone (though he's excellent as usual). The inclusion of Booker Ervin gives the album the perfect texture, as his style in many ways contradicts that of Dolphy. Although the styles are different, they complement each other perfectly. Mal Waldron is a great composer, and many of his most excellent ideas appear on this album. The song "Thirteen" is a fine example...you'll just have to listen to it. Everyone on this album smokes. Get this...you wont regret it.

I am amazed that this album, "The Quest", by Mal Waldron is not one of the most well known masterpieces of the genre (such as, "Kind of Blue"). From it's "Twilight Zone" like opening track through Eric Dolphy's edgy solos, it's riveting. This CD really should really be included in any essential Jazz collection and as one of the basic titles in the Dolphy discography...

being on a recent booker ervin kick, i was thrilled to find this disc featuring the late great eric dolphy too. the themes here are minimal, the earlier reviewer who called them "showcases for soloists" was right on. ervin's got his sixties sound down, if you like his playing on his "book" series you'll dig it here-- melodic, powerful, and just "out" enough to show he knows how to play changes, but he isn't constricted to them. dolphy's a monster here, playing a lot of alto. (still my favorite of his many reeds)his playing is very free and vocal, but not harsh like i feel a lot of ornette's work can be. ron carter's cello is a nice texture, though i prefer his arco playing, especially on "duquility" (his pizzicato solos are interesting, but they lack the "wail" he can achieve with the bow) leader waldron is a modest player, never overextending himself, always the consumate accompanyist. unfortunately, it is in the sound of his piano that the album suffers-- not in his playing-- but in recording quality. the piano is down way too far in the mix, and eq'ed muddily so that his left hand is barely audible during his hushed solos. the horns are panned a bit too hard left and right, which can make for a strange headphone listen (you'll find yourself leaning one way or another)the record lacks some bass response too, and has an overall low output. kind of a shame consideing the beauty of this set-- one can't help but think if this were a blue note release it would have been "rudy van geldered" a long time ago. overall this is a worthwhile release, for fans of any of the group.

This is the sort of album I consider to be a strong, great little album that is not a monster classic. Recorded in the summer of '61, this album is Mal - piano, Dolphy - alto saxophone and clarinet (not his more frequent bass clarinet), Booker Ervin - tenor, Ron Carter - cello, Joe Benjamin - bass and Charlie Persip - drums.

For me, it's really Ron's cello that cuts this album down a few pegs. Arco he's okay... nothing spectacular, but not a deal-breaker. The pizzicato is a total mood killer. Ron's a great musician but the stuff he's picking and thumping out of the cello is so clunky and out of place that it mangles the flow. Basically I just sit there and suffer through the cello because the rest of the album earns it. If all you ever heard of Ron was this, you'd have no idea that he can actually swing.

Now to the good stuff... Mal's name is on the album and the compositions, but it feels like a Dolphy album. I don't have the issue from this product page. I have this album as part of the Eric Dolphy Complete Prestige Recordings boxed set (remastered 1995). This is another album that will make you lament Eric's early departure from this life. Warm Canto in particular makes me wonder what would have been. We all know Eric could do his exalted, off-kilter swing thing to perfection, but Canto (on clarinet) shows some great, slow ballad playing that feels like a tease... like he was growing into this direction. It makes me think he could have been an all-time ballad player had he gotten older... lived more... loved more... lost more.

Booker is a stark contrast to Eric's playing, and they pair very well, particularly when playing at the same time. Booker's tough tenor with Eric skittering behind it. I'd love to hear William Parker adopt a couple of these tunes and let the Little Huey Orchestra take them where they may.

Mal's playing is always cool, but this isn't one of his major albums in terms of long stretches of uninterrupted Mal soloing, so you may want to know that in advance. Also, a previous review mentions Booker Little on this album. He's not on this album. I think that reviewer just got their Fire Waltzes confused and was thinking of the Five Spot Dolphy-Little stuff.

Essential for the Dolphy fan. Just be prepared to wade through the clumsy cello playing.

I first became aware of Mal Waldron's genius through his interpretation of "Smoke Gets In Your Eyes." He introduced a certain richness to that song. Fast forward ten years later. I was watching an internet clip when I heard the song "Fire Waltz" from this CD. Somebody was kind enough to put a title to the song. I hurriedly ordered this CD from this site. By the way, on that same internet clip, someone commented that it was the best song on that popular site. While this might be hyperbole, "Fire Waltz" is simply amazing. Check out also "Thirteen," "We Diddit," and "Warm Canto." This is a must have. Booker Ervin can flat play the tenor.

This album gives me goosebumps. I got it because of Eric Dolphy, but there is a lot more to listen to on this album than Eric Dolphy alone (though he's excellent as usual). The inclusion of Booker Ervin gives the album the perfect texture, as his style in many ways contradicts that of Dolphy. Although the styles are different, they complement each other perfectly. Mal Waldron is a great composer, and many of his most excellent ideas appear on this album. The song "Thirteen" is a fine example...you'll just have to listen to it. Everyone on this album smokes. Get this...you wont regret it.

I am amazed that this album, "The Quest", by Mal Waldron is not one of the most well known masterpieces of the genre (such as, "Kind of Blue"). From it's "Twilight Zone" like opening track through Eric Dolphy's edgy solos, it's riveting. This CD really should really be included in any essential Jazz collection and as one of the basic titles in the Dolphy discography...

being on a recent booker ervin kick, i was thrilled to find this disc featuring the late great eric dolphy too. the themes here are minimal, the earlier reviewer who called them "showcases for soloists" was right on. ervin's got his sixties sound down, if you like his playing on his "book" series you'll dig it here-- melodic, powerful, and just "out" enough to show he knows how to play changes, but he isn't constricted to them. dolphy's a monster here, playing a lot of alto. (still my favorite of his many reeds)his playing is very free and vocal, but not harsh like i feel a lot of ornette's work can be. ron carter's cello is a nice texture, though i prefer his arco playing, especially on "duquility" (his pizzicato solos are interesting, but they lack the "wail" he can achieve with the bow) leader waldron is a modest player, never overextending himself, always the consumate accompanyist. unfortunately, it is in the sound of his piano that the album suffers-- not in his playing-- but in recording quality. the piano is down way too far in the mix, and eq'ed muddily so that his left hand is barely audible during his hushed solos. the horns are panned a bit too hard left and right, which can make for a strange headphone listen (you'll find yourself leaning one way or another)the record lacks some bass response too, and has an overall low output. kind of a shame consideing the beauty of this set-- one can't help but think if this were a blue note release it would have been "rudy van geldered" a long time ago. overall this is a worthwhile release, for fans of any of the group.

This is the sort of album I consider to be a strong, great little album that is not a monster classic. Recorded in the summer of '61, this album is Mal - piano, Dolphy - alto saxophone and clarinet (not his more frequent bass clarinet), Booker Ervin - tenor, Ron Carter - cello, Joe Benjamin - bass and Charlie Persip - drums.

For me, it's really Ron's cello that cuts this album down a few pegs. Arco he's okay... nothing spectacular, but not a deal-breaker. The pizzicato is a total mood killer. Ron's a great musician but the stuff he's picking and thumping out of the cello is so clunky and out of place that it mangles the flow. Basically I just sit there and suffer through the cello because the rest of the album earns it. If all you ever heard of Ron was this, you'd have no idea that he can actually swing.

Now to the good stuff... Mal's name is on the album and the compositions, but it feels like a Dolphy album. I don't have the issue from this product page. I have this album as part of the Eric Dolphy Complete Prestige Recordings boxed set (remastered 1995). This is another album that will make you lament Eric's early departure from this life. Warm Canto in particular makes me wonder what would have been. We all know Eric could do his exalted, off-kilter swing thing to perfection, but Canto (on clarinet) shows some great, slow ballad playing that feels like a tease... like he was growing into this direction. It makes me think he could have been an all-time ballad player had he gotten older... lived more... loved more... lost more.

Booker is a stark contrast to Eric's playing, and they pair very well, particularly when playing at the same time. Booker's tough tenor with Eric skittering behind it. I'd love to hear William Parker adopt a couple of these tunes and let the Little Huey Orchestra take them where they may.

Mal's playing is always cool, but this isn't one of his major albums in terms of long stretches of uninterrupted Mal soloing, so you may want to know that in advance. Also, a previous review mentions Booker Little on this album. He's not on this album. I think that reviewer just got their Fire Waltzes confused and was thinking of the Five Spot Dolphy-Little stuff.

Essential for the Dolphy fan. Just be prepared to wade through the clumsy cello playing.

I was severely disappointed by this album. I never heard anything with Eric Dolphy that I didnt like, but as the other reviewer states this is an exceptionally bad recording. I doubt that I will ever listen to it again. For completists only.

This CD was recorded at a club (I think; liner notes are not informative) in Munich in 1961. It features McCoy Tyner on piano, Reggie Workman on bass and Mel Lewis on drums. Ingredients are promising, no? Unfortunately, whoever made the recording seems to have been sitting right next to the drums and bass, because Dolphy is virtually drowned out much of the time. What can be heard of his playing is top-notch as usual, but you have to strain your ears to convince yourself it's not just the McCoy Tyner piano trio (which would be OK, but I paid for Dolphy). I'm no audiophile but this is bad even by my low standards. Five stars for the music, zero stars for the sound.

My review title says it all. The songs and the musicians on this album makes it sound like this ought to be a pretty good album, which is why I bought it. When I got it home and listened to it, I was very upset at how HORRIBLE the sound quality was, and I immediately returned it. At times you can't even hear the lead instrument. To call this "fair" sound quality is generous, in my opinion.
If you must have it, take a look at another Eric Dolphy album called "Green Dolphin Street" (Live in Germany). I haven't heard it, but it's a reissue by another company, and according to the reviewer the sound was improved somewhat.

Four very extended performances featuring Eric Dolphy on bass clarinet with most - or perhaps all - of John Coltrane's rhythm section in support, captured between shows during Coltrane's and Dolphy's late 1961 European tour. Fair sound quality and up-and-down performances equal an essential purchase for fans, but an item of limited interest for the general audience. Nice to have it available, nevertheless.