Eric Dolphy Music

You can only just hear the lead instrument playing... I *think* the music is really good, but you wouldn't be able to tell by this recording

You can only just hear the lead instrument playing... I *think* the music is really good, but you wouldn't be able to tell by this recording

A rather muddy recording of a largely mediocre performance, this is certainly not the place for curious newcomers to start checking out Eric Dolphy. My fellow completists and hardcore fans, however, will find that THE COMPLETE UPPSALA CONCERT offers a few worthwhile surprises, as well as the rare opportunity to hear exactly what its title states - a complete Eric Dolphy show.
As the liner notes in my own earlier edition point out, the four musicians on this date only met an hour or so before going onstage, which means that the normally explosive Dolphy energy is considerably restrained here. Slow, foursquare rhythms predominate, leaving jazz's most ebullient reedsman with little choice but to rein things in. This in itself might be rather interesting to those who already own most or all of Dolphy's other concert recordings, and the inclusion of tunes like "What Is This Thing Called Love" and "Bags' Groove" also marks the Uppsala performance as a unique entry in Dolphy's catalogue. Only one Dolphy composition ("245") is played here, but it's a monster - over twenty minutes long with a twelve-minute alto saxophone solo of consistent, if relatively controlled, inventive power.
For Dolphy fans, this is obviously a must-have disc; but the bootleg sound quality and mostly middling performances mean it probably won't be one they throw on very frequently. Underrecorded artists who died too young can do no wrong, however, so all I can say about Dolphy's performance here is that it's all right.

A rather muddy recording of a largely mediocre performance, this is certainly not the place for curious newcomers to start checking out Eric Dolphy. My fellow completists and hardcore fans, however, will find that THE COMPLETE UPPSALA CONCERT offers a few worthwhile surprises, as well as the rare opportunity to hear exactly what its title states - a complete Eric Dolphy show.
As the liner notes in my own earlier edition point out, the four musicians on this date only met an hour or so before going onstage, which means that the normally explosive Dolphy energy is considerably restrained here. Slow, foursquare rhythms predominate, leaving jazz's most ebullient reedsman with little choice but to rein things in. This in itself might be rather interesting to those who already own most or all of Dolphy's other concert recordings, and the inclusion of tunes like "What Is This Thing Called Love" and "Bags' Groove" also marks the Uppsala performance as a unique entry in Dolphy's catalogue. Only one Dolphy composition ("245") is played here, but it's a monster - over twenty minutes long with a twelve-minute alto saxophone solo of consistent, if relatively controlled, inventive power.
For Dolphy fans, this is obviously a must-have disc; but the bootleg sound quality and mostly middling performances mean it probably won't be one they throw on very frequently. Underrecorded artists who died too young can do no wrong, however, so all I can say about Dolphy's performance here is that it's all right.

I was so happy when this CD was reissued. Dolphy is such a charm to listen to with his beautiful combinations of tradition, solid structure, and improvisation. I would recommend this CD to anyone who likes some good 60s pop. Especially that song "Love Me."

"Conversations" and its counterpart "Iron Man," along with the recently issued "The Illinois Concert," are the missing link between Dolphy's Prestige recordings and the Blue Note masterpiece "Out to Lunch." Unfortunately, it is a bit of transition album. Dolphy begins his association with Bobby Hutcherson here, and his vibes offer the strongest counterpoint yet to Dolphy's unique reed sound. The album features several other jazz men whose names became synonymous with great avant-garde and modern jazz -- Sonny Simmons, Prince Lasha, Richard Davis, JC Moses, Eddie Kahn, Charles Moffet, Woody Shaw (in fact this was his recording debut), etc. The album only features two quintet/sextet recordings with the infectious "Music Matador" the highlight of the album. The last two tracks are a Dolphy solo piece, and a Dolphy duo with bassist Davis. The duo piece hints at the kind of imporovisation we will see in a group setting on "Out to Lunch." For Dolphy fans, or fans of the "avant" Blue Note releases, this is indispensible.

"Conversations" and its counterpart "Iron Man," along with the recently issued "The Illinois Concert," are the missing link between Dolphy's Prestige recordings and the Blue Note masterpiece "Out to Lunch." Unfortunately, it is a bit of transition album. Dolphy begins his association with Bobby Hutcherson here, and his vibes offer the strongest counterpoint yet to Dolphy's unique reed sound. The album features several other jazz men whose names became synonymous with great avant-garde and modern jazz -- Sonny Simmons, Prince Lasha, Richard Davis, JC Moses, Eddie Kahn, Charles Moffet, Woody Shaw (in fact this was his recording debut), etc. The album only features two quintet/sextet recordings with the infectious "Music Matador" the highlight of the album. The last two tracks are a Dolphy solo piece, and a Dolphy duo with bassist Davis. The duo piece hints at the kind of imporovisation we will see in a group setting on "Out to Lunch." For Dolphy fans, or fans of the "avant" Blue Note releases, this is indispensible.

"Conversations" and its counterpart "Iron Man," along with the recently issued "The Illinois Concert," are the missing link between Dolphy's Prestige recordings and the Blue Note masterpiece "Out to Lunch." Unfortunately, it is a bit of transition album. Dolphy begins his association with Bobby Hutcherson here, and his vibes offer the strongest counterpoint yet to Dolphy's unique reed sound. The album features several other jazz men whose names became synonymous with great avant-garde and modern jazz -- Sonny Simmons, Prince Lasha, Richard Davis, JC Moses, Eddie Kahn, Charles Moffet, Woody Shaw (in fact this was his recording debut), etc. The album only features two quintet/sextet recordings with the infectious "Music Matador" the highlight of the album. The last two tracks are a Dolphy solo piece, and a Dolphy duo with bassist Davis. The duo piece hints at the kind of imporovisation we will see in a group setting on "Out to Lunch." For Dolphy fans, or fans of the "avant" Blue Note releases, this is indispensible.