Eric Dolphy Music

Tracklisting:

CD1:
Maiden Voyage Herbie Hancock 7:55
It's Only a Paper Moon Ella Fitzgerald 3:38
The Bridge Sonny Rollins 6:00
Wham Bam Thank You Ma'am Charles Mingus 4:45
The Baron Eric Dolphy 2:58
Stolen Moments Olivier Nelson 8:48
Night Rider Stan Getz 3:59
A Love Supreme--Part 1: Acknowledgement John Coltrane 7:48
Prelude to a Kiss Archie Shepp 4:52
It's a Raggy Waltz The Dave Brubeck Quartet 5:15
Mr. Lucky Sarah Vaughan 2:30
Cristo Redentor Donald Byrd 5:45
Blues Connotation Coleman, Ornette Quartet 5:17
Four on Six Wes Montgomery 6:13

CD 2:
Smack Up Art Pepper Quintet 4:18
Petty Larceny Art Balkey And The Jazz Messengers 6:17
Day by Day Sun Ra & His Astro'Infinity Arkestra 3:38
African Lady Abbey Lincoln 3:48
Freedom Jazz Dance The Miles Davis Quintet 7:15
Where Flamingos Fly The Gil Evans Orchestra 5:13
Blue Bossa Joe Henderson 8:02
Whap! Jack Mc Duff 4:29
The Jody Grind The Horace Silver Quintet 5:51
Ghosts Albert Ayler 2:50
Dream Gypsy Bill Evans & Jim Hall 4:35
Four by Five McCoy Tyner 6:37
The Inflated Tear Rahsaan Roland Kirk 4:56
The Creator Has a Master Plan Pharoah Sanders 9:08

In a musical genre laden with tragedies, I've always found Eric Dolphy's to be the most affecting. Here was a musician so proficient, so captivating, so fearless -- and yet, all one ever hears from the survivors around him is how kind and generous the man was. And then, to be felled by undiagnosed diabetes -- just awful.

As far as I'm concerned, just about everything in the man's discography is essential, including the disc in question. There may be other, "more essential" albums ("Out to Lunch", "Out There", Mal Waldron's "The Quest", "Charles Mingus Presents Charles Mingus" to name a few) but there's no question that this collection is a major work from a major artist. Every note is so *alive*. Listen to "Music Matador". Eric injects such passion, such anguish into the deluge of otherwise familiar calypso notes that I can't help but twitch in sympathy. Or "Alone Together", an epic bass/bass clarinet duel performed with the help of the great Richard Davis -- this piece is so deeply involving and intense it almost caused me to rear-end a fellow in front of me.

Perhaps best of all is another in the string of the man's brilliant solo alto efforts, "Love Me", which closes the disc, but there's really not a dull moment in the entire hour and fifteen minutes. Such notes, such passion. There'll never be another.

In spite of having to pay an extra £16.50 import tax and Post office handling, I didn't care once I opened this 9 CD set. Included are tracks from the alternates originally issued on the rare 'Dash One' album. A concise biography is supplied by Zan Stewart, and there's an excellent guide to the sessions by Bill Kirchner. To cap it all (if the music wasn't enough), there's some superb photographs, I'd never seen before. Blue Note may have got the peak with 'Out to Lunch', but Prestige got the mountain with this set of recodings,,,

If you have the bad luck to get an early pressing of this set, in which "Laura" is left off of CD 9 and a repeat of "When Lights are Low" from CD 8 is substituted instead, be aware that Concord Music Group (current owners of Fantasy, Prestige, etc.) no longer stands behind their product, and will not provide a replacement CD except to customers who have bought the set directly from them.

With nine full-to-the-brim discs (the shortest is over seventy-two minutes long) containing every note reedsman Eric Dolphy committed to tape as leader or sideman during his 1960-61 stint at Prestige Records, this is a generous boxed set indeed, and a truly worthy tribute to one of jazz's most sadly underappreciated talents. It's also a fine introduction to Dolphy's music for anyone willing to part with the hefty price, as the Prestige sessions include both Dolphy's most accessible, "mainstream" work and some of his lengthiest and most adventurous live explorations. The varied list of players, both sidemen and the numerous session leaders with whom Dolphy played during this period, also adds considerably to the appeal of this comprehensive collection.
Starting off with alto saxophonist/bass clarinetist/flautist Dolphy's debut leader album, OUTWARD BOUND, presented - as are all of the studio sessions here - in LP order, THE COMPLETE PRESTIGE RECORDINGS offers immediate and abundant proof of Dolphy's talents, and should leave no one wondering why even as a sideman he thoroughly dominated nearly every date he played on. His twisting, inside-out saxophone voicings, so utterly incomparable to the sound of any other alto player (even Charlie Parker), alternate beautifully with the resonant, vaguely haunting hum of his bass clarinet work - it is noteworthy that more than four decades after Dolphy's death he remains the only jazzman significantly associated with that bizarre instrument - and the breathtaking beauty of his symphony orchestra-worthy efforts on flute. While Dolphy's own albums, including OUT THERE, FAR CRY, IN EUROPE and the rightly legendary LIVE AT THE FIVE SPOT with trumpeter Booker Little, pianist Mal Waldron, bassist Richard Davis and drummer Eddie Blackwell, in addition to the seminal OUTWARD BOUND, contain the most adventurous music in this box, supporting performances behind Oliver Nelson, Ken McIntyre, The Latin Jazz Quintet, Ron Carter and Waldron also offer many fine opportunities for Dolphy to display his unique gifts and literally irrepressible musical personality in slightly more traditional contexts. Nelson's STRAIGHT AHEAD is a particularly good date for both men; and the inclusion of several Dolphy-less numbers on Carter's WHERE?, not to mention an entire album (TRANE WHISTLE by Eddie "Lockjaw" Davis) on which Dolphy plays no solos, provides a bit of variety in the tone and timbre of the proceedings as well as a chance to hear what else was going on at Prestige at the time. The result is both an overdue celebration of one great musician's abilities and a broad look at the New York jazz scene of the early sixties, with many famous names - Roy Haynes, Freddie Hubbard, Sam Jones, Jaki Byard and Art Taylor, just to name a few more - joining Dolphy for some of that era's most important and influential moments. I should also mention the excellent remastering, which (perhaps because it was done some ten years ago) manages to be crisp and clear without sacrificing the warmth of vinyl for the shrill artificiality of many latterday sonic touch-ups; and the packaging - stylish and solid outside with plenty of information and illustration inside. On any and all levels, this is one of jazz's must-have anthologies, and anyone with an interest in the period and/or the musicians represented herein is advised to take the plunge. Viva Dolphy!

Marked with the gift to draw fire from the soul,
and from this weave robust, honest, creatively
beautiful Music, he was a genius who called the
Spirits awake with towering imperative; vibrantly
dancing elder Traditions into Life anew. Composer
deluxe and arranger extraordinaire, his hunger
and thirst brought a whole new voice to the alto
saxophone, while single-handedly bringing the
flute and bass clarinet into instrumental Jazz
prominence for the first time. With humility and
purpose, a dedicated drive and a joyous song,
Eric Dolphy struck a dissonant chord of challenge,
clarity, and command which continues to resound
throughout the corridors of African American
legacy, and beyond.

Yet, over 40 years after his senseless death due
to medical neglect, Dolphy remains a largely
unknown commodity to the world-at-large, an
aesthetic pariah held suspect by the timorous,
the jaded, and the confused. Even certain Jazz
artists who should have known better -including
Miles Davis and Sonny Stitt- have made ruthlessly
callous remarks which impugn Dolphy's unimpeachable
validity as a master musician.
With the phenomenal pianist Herbie Nichols, the
exceptional vibraphonist Walt Dickerson, and the
incomparable singer Jeanne Lee, the Watts native
stands as one of the most misunderstood and
underrated giants in all of Music.

Just how monumental a giant Dolphy continues to
be can be measured in the array of great musical
originators who have been touched by his tireless
efforts. Heed reedslinger David Murray's jaunty
roar, flutist James Newton's pervasive wizardry,
or instrumental composer Anthony Braxton's probing
multimedial muse, and you gain a taste of how
mightily the Dolphy influence reaches into the
very best of the Here and Now.

In equal fashion, a listen to the man's recordings
will reveal much to savor. From his scorching work
alongside Ornette Coleman, Abbey Lincoln, Andrew
Hill and Max Roach, to his groundbreaking
partnerships with Chico Hamilton, Charles Mingus
and John Coltrane, Dolphy was very much a mover
and shaper of penetrating cultural expression.
His last recordings, principally for the Douglas
and Blue Note labels, show what an astonishing
trailblazer the multireed shootist continued to
be to the very end, vividly suggesting the wealth
of material which should have been.

Fortunately, the reedsmaster's recorded legacy is
as diverse and bountiful as it is brief. Anyone
needing proof of this may regard his most noted
bloc of work, and strap in for a heady ride. ERIC
DOLPHY: The COMPLETE PRESTIGE RECORDINGS
is high adventure, deep romance, and bountiful
history all rolled into one powerful package of
Great Black Music.
This stupendous 9-CD Fantasy Records collection
assembles all of Dolphy's debut recordings as a
leader, along with all of his work as a sideman
for Prestige/New Jazz, into a singular tribute
to the significance of 1960-61 as a vital time
for Creative Music.
From incandescent solo performances to soaring
orchestral splendor, along with some of the most
delightful and innovative of all small group
presentations, The COMPLETE PRESTIGE DOLPHY
is an important collection; a must for any
serious listener of fine Music, Jazz and
otherwise.

As mighty as Dolphy was as a prime mover, much
of his greatness is rooted in his contributive
generosity; always providing ample soloing
space for everyone, while keeping focus upon
the total effort at hand. No dead silences
or shrill, self-indulgent exercises here.
No museumpiece apings of other folk's
groove, either.
From quiet time to explosive jam, from studio
summits to vital live concert juggernauts, THE
COMPLETE PRESTIGE DOLPHY offers the conceptual
daring and lyrical diversity of artists having
a lot of swinging fun paving fresh, freeweaving
new ground.

Walk the way of this Music, and stroll through
wonderlands of song forged by formidable pianists
such as Jaki Byard and Mal Waldron, lithe, pulse-
sifting drummers such as Roy Haynes and Edward
Blackwell, plus string wizards such as Chuck
Israels, George Duvivier, Richard Davis and Ron
Carter. Fellow reedsmen Booker Ervin, Ken McIntyre,
and Eddie "Lockjaw" Davis are deep in their fiery
element here, while the rare original session with
the Latin Jazz Quartet is pleasant in its reflective
poise. The first strides of Oliver Nelson brought
stunning promise and a fleeting reclamation of
stolen moments, while a young Freddie Hubbard
trumpets with a clarity, precision and tempestuous
vision that has never been surpassed - not even
by him.
Deliciously dangerous, clarion-calling chases such
as Dolphy's "Miss Ann", Waldron's "Status Seeking",
Sonny Rollins' "Oleo" and Booker Little's off-minor,
major spirit-chase "Aggression" take their place
alongside serenading Blues such as "Serene", classic
renditions of standards such as "On Green Dolphin
Street", "Tenderly", and "Like Someone In Love", as
well as memorable Jazz ballads such as Byard's "Ode
To Charlie Parker", Randy Weston's "Hi-Fly", and the
legendary solo presentations of Billie Holiday's
"God Bless The Child".

Those who value the rarefied synergy conjured
by the team of Dolphy and trumpeter Booker
Little will find this collection especially
attractive, since it contains all of their
classic live recordings from NYC's Five Spot
Café, as well as their historic first meeting
on FAR CRY. With Duke Ellington and Billy
Strayhorn, Randy Weston and Melba Liston,
Dolphy and Little formed one of the finest
collaborative teams in all of Jazz.

As for the Memphis-born Brass King who bridged
Clifford Brown's golden blaze with the silver
blue spells of Miles Davis, Booker Little's
aqualine call to wisdom and glory is a treat
all its own.
Humble, exuberant, and highly creative, the
trumpeter's generous, buoyant play set precedents
which have never been surpassed... even decades
after his tragic death in the Fall of 1961.

Throughout it all, listen to the never-ending
development that was Eric Dolphy. A latter-day
Pied Piper, he lived to make Music as no one else
could, or has since. In times where to sing and
play too often means to posture and be procured,
the significance of the Dolphy legacy is its joyful
uniquity and staunch resilience in the face of
embittered dissolution.
For those who heed this call, expression means to
speak out. Art speaks with a purpose, and for a
reason. Responsibility calls for the exchange of
conversation, as well as the depth of communion.

With the exception of the priceless European concerts
which close this collection so perfectly, engineering
master Rudy Van Gelder is the source of this set's
astonishing auditory wonder. As for Esmond Edwards,
his stance as the original producer for most of these
recordings marks the African American entrepreneur
as a pioneer; one who set precedents for Black people
behind the scenes needing to market -not milk down-
the deepest forms of Black Music.

Handsomely packaged, astutely annotated, ERIC DOLPHY:
THE COMPLETE PRESTIGE RECORDINGS is a wonderful tapestry
of artistry holding nothing back, a Black aesthetic
offering Music which dares to be both beautiful and
truthful without fear. Music offering choices to
hear.

A song and a way to hold dear.

This is almost all what Eric Dolphy recorder for Prestige and Eric plays great on most tracks.
1st session: (album Outward Bound) includes titles:
G.W.(as), 245(as), Green Dolphin Street(bcl), Glad to be Unhappy(fl), Les(as), Miss Toni(bcl), April Fool(fl)
Eric's first recordings as leader and perfect session. All great stuffs. I love his blues 245 alto solo especially.

2nd session: (Oliver Nelson's Screanim' the blues) with:
Three Seconds(as), Alto-itis(as), The Meetin'(as), The Drive(as), March On March On(as), Screamin' the Blues(bcl)
Fine album. Eric plays great again.

3rd session: (Ken McIntyre's Lookin'g ahead) with:
Lautir(fl), Curtsy(as), Geo's Tune(as), They All Laughed(as), Head Shakin'(as), Dianna(bcl)

4th session: (Dolphy's album Out there) with:
Out There(as), Serene(bcl), The Baron(bcl), Eclipse(cl), 17 West(fl), Sketch of Melba(fl), Feather(as)
It could be great album, but it's mared by Ron Carter's amateurish and with many false tones cello playing on some tracks. I like Out there and especially Eric's superb alto solo on Feather. Serene and The Baron are good too. Other records are unlistenable although Eric plays very good especially on flute.

5th session: (Caribe with Latin jazz quintet and Eric Dolphy):
Caribé(as), Blues in 6/8(as), First Bass Line(bcl), Mambo Ricci(as), Spring is Here(fl), Sunday Go Meetin'(fl)
Fine latino with superb Eric's playing.

6th session: (Eddie Lockjaw" Davis and album Trane whistle):
Walk Away, Trane Whistle, Whole Nelson, Stolen Moments, Jaws, You Are Too Beautiful (as,bcl)
Eric plays here but nobody listen him. It is orchestral album.

7th session: (Dolphy-Booker Little's Far cry):
Ode to Charlie Parker(fl), Bird's Mother(bcl), It's Magic(bcl), Serene(bcl), Miss Ann(as), Far Cry(as), Left Alone(fl), Tenderly(as).
Great album with classic like Miss Ann and perfec unaccompanied alto solo on Tenderly. Booker doesn't play on Left alone and It's magic too.

8th session: (Oliver Nelson quintet with album Straight ahead) with:
Images(bcl), Six and Four(as), Mama Lou(fl, as), Ralph's New Blues(bcl), Straight Ahead(as), 111-44(bcl)
Supreb album. I like all song here. Perfect playing by everybody. My top favourite song are bluesy Images with beautiful Nelson's solo and quickly Straight ahead with perfect playing by Dolphy.

9th session: (Ron Carter's Where):
Rally(bcl), Yes Indeed(fl), Saucer Eyes(fl), Softly as in a Morning Sunrise(as) Where and Bass duet without Dolphy.
Boring album with many Carter's lapses in his cello's playing.

10th session: (Mal Waldron's The quest):
Thirteen(as), Duquility(as), Status Seeking(as), Warp and Woof(as), Warm Canto(cl), Fire Waltz(as), We Diddit(as)
Similar album like Carter's Where.

11th session: (Dolphy-Booker's At the Five Spot):
Status Seeking(as), God Bless the Child(bcl), Aggression(bcl), Like Someone in Love(fl), Fire Waltz(as), Bee Vamp(bcl), The Prophet(as), Number Eight(as), Booker's Waltz(bcl)
Very good live album. Both Eric and Booker are in good form, but sometimes bit monotonous. Production and sound of this recordings is the best on whole box. Like they playing on your living room. On god bless the child Eric plays unnacompanied bcl solo(only in left loudspeaker). He's playing very aggressively on The Prophet and great on Status Seeking.

12th and 13th sessions: (Dolphy in Europe):
Don't Blame Me(fl), When Lights are Low(bcl), Glad to be Unhappy(fl), Hi-Fly(fl), God Bless the Child(bcl), Oleo(bcl), The Way You Look Tonight(as), Laura(as), Woody'n You(as), In the Blues(as), Les(as)
Missing 2 takes of Miss Ann.
Superb sessions and great production again. Famous free alto solos on almost all alto tracks. On God Bless the Child Eric plays unnacompanied again and lovely flute-bass duet on Hi-Fly.

Sound on this box is with lot of reverb and there are some failed songs, but it is must for any Dolphy's fan.