Eric Dolphy - Last Date

Last Date, being recorded only a few weeks before the premature passing of Eric Dolphy at the age of 36, sums up his legacy and his musical prowess the best. He had reached his artistic peak. This is the album where he plays his instruments on equal basis: two pieces for alto saxophone, two for flute and two for bass clarinet. He is backed by three European jazz musicians, including Dutch pianist Misha Mengelberg. They start with a Thelonious Monk cover "Epistrophy", where Dolphy shines on bass clarinet. Next we move onto Dolphy's original "South Street Exit", a fast upbeat, even bluesy number with poignant flute melodies. On the two tracks he plays alto sax, he proves that back in the day he was one of the most exciting alto saxophone players around, influenced by Charlie Parker, but matching his legacy very well.

However, it's the second song with flute on the album, "You Don't Know What Love is". It's also the longest cut on the album with 11 minutes and thus, there is enough time given for the master to explore the sonorities of the woodwind. Dolphy turns in the most moving and the most jaw dropping solo on that instrument my ears have ever witnessed. This totally transformed my opinion of Eric Dolphy as a fascinating jazz figure to a totally outstanding legendary musician. His greatness can be summed up by stating that Charles Mingus never had a single bad word to say about Eric Dolphy.

Eric Dolphy - Out To Lunch

The main virtues of the music found on Out To Lunch, a landmark Eric Dolphy album (1964) are the outstanding and unconventional musicianship; as well as often interesting musical ideas. The record is filled with musicians that can be considered the cream of the crop in sixties avant garde jazz scene. Tony Williams' playing transcends the usual trappings regarding drums, often forsaking rigid sense of time, but still swinging like a motherfucker, in a twisted way. Richard Davis is a truly talented bassist whose playing complements Williams' drumming very well. Bobby Hutcherson's vibes are creepy and spacious and as a chordal instrument it is a viable alternative for piano; Freddie Hubbard delivers insanely blaring trumpet lines, making the instrument sound as if armageddon was at hand. As for Eric Dolphy: he is all over the place whenever he will take a solo on bass clarinet, flute or alto sax (in that order).

As for the compositions and overall music, the use of tricky time signatures and the stew of free rhythms as well as angular melodic developments stand out. At times this isn't very palatable, the title track seems tobe the toughest nut to crack of all the five compositions. If you're curious about Eric Dolphy, you might want to start with Far Cry or Last Date. Otherwise, this is a landmark in sixties free-jazz.

Eric Dolphy - Conversations

Conversations by Eric Dolphy contains four tracks. The album's two halves couldn't be any different from each other. First two tracks are very accessible ensemble pieces where Dolphy plays with his sidekicks like Prince Lasha, Bobby Hutcherson and Richard Davis. Hearing Dolphy and others tackling those upbeat and vibrant melodic compositions, is truly indicative of Eric Dolphy's versatility as a musician. As such, this album would serve as a fine introduction for those who might be scared off by sheer statistical density of stuff like Out To Lunch. Not sure what they would think of what is about to follow, as the last two tracks are more explorative fare. "Love Me"on alto sax is yet another one of those unaccompanied reed pieces Dolphy frequently recorded. The last thirteen minutes, "Alone Together" have Dolphy on bass clarinet having a duet with string bassist Richard Davis. The interplay between two instruments and their low registers is spacious and the mood is as intimate as the title suggests.

Eric Dolphy - The Illinois Concert

Although considered one of the lesser Eric Dolphy albums, this is still a record worth checking out for a few reasons. Want a proof that bass clarinet can be a real jazz instrument on his own right? Then listen to this album. Dolphy rips on that instrument through his 20minute rendition of "Softly Through The Morning Sunrise" which literally dismantles a classic jazz melody past any recognition whatsoever. Dolphy was a master when it came to taking jazz standards and using them as fertile vehicles for his improvisations on whatever woodwind he played. This skill is just as worth mentioning as is his mastery on his instruments as well as his challenging compositions. His unaccompanied solo "God Bless The Child" is no less impressive either. Also, while Herbie Hancock playing the piano in Dolphy's ensemble is an unlikely combination indeed, it's still worth hearing nevertheless. That's the second thing to attract to this item in Dolphy's discography. If anything, this certainly sounds interesting even in the already diverse Hancock resume. Strange thing that Miles Davis hated Dolphy, whereas most of his sidemen in the legendary second great Miles Davis quintet (Ron Carter, Tony Williams, and Hancock) had played with Dolphy before. And that on the "Bitches Brew" album, Miles Davis used a bass clarinetist pretty much influenced by Dolphy's revolutionary playing. Then again, true pioneers are always hated first before their ideas become more widespread.

This record is also remarkable for the last two tracks that are are orchestrated with loads of brass and reed instruments. This shows an entirely another side to the man who was considered an anti-jazz charlatan by the conservative jazz establishment. There was more to him than just agile free-blowing radicalism. This guy was immensely talented and skilled. As Charles Mingus said, he would have made it to a classical orchestra. Dolphy even performed "Density 21.5" by Varèse on solo flute, too bad there aren't any recordings out there of that. Eric Dolphy's Out to Lunch compositions are often closer to avant-garde classical composers than to your typical jazz writers. As such it was no wonder why musicians outside jazz like Frank Zappa considered him influential.