ON Candid. Not coincidentally, some of the hallmarks of Mingus compositions – the driving, leaping, angular rhythms and swooning or beseeching chromatic passages – both informed and catered to Dolphy’s style and virtues. Your email address will not be published. These are his best tracks. Lastly, Dolphy’s playing on Andrew Hill’s “Point of Departure” is terrific. Dolphy loved the brusque élan of Mingus, the inscrutable mischief of Coleman, and the magnetic passion of Coltrane. the spirit behind eric's sound was his technique. Read Full Biography. And, agree with all of the above, but think a couple stand out performances should be mentioned. Dolphy’s contributions to some of Coltrane’s most spirited versions of “My Favorite Things,” stand out, with a relatively obscure live version recorded in Hamburg and included on John Coltrane: The European Tours a particularly good example. makes it an acquired taste that rewards repeated listening. His music fell into the "avant-garde" category yet he did not discard chordal improvisation altogether (although the relationship of his notes to the chords was often pretty abstract). The bass clarinet workout on “Ralph’s New Blues”, and the alto on the title track are extraordinary. There are a raft of other iconic Dolphy blowing sessions and intrepid forays to the fringes where boppish free jazz resides. Eric Dolphy’s influence was huge in the jazz community and beyond. He was one of the first musicians to record unaccompanied horn solos, and largely introduced the bass clarinet as a solo instrument. The Monk tribute “Hat and Beard,” hits the bullseye on Monk’s angular simplicity and irresistible lyricism via the songcraft and Dolphy opening bass clarinet solo. And trumpeter Freddie Hubbard nearly held his own in the front line beside Dolphy in full flower on all three instruments. His music fell into the "avant-garde" category yet he did not discard chordal improvisation altogether (although the relationship of his notes to the chords was often pretty abstract). Your email address will not be published. (The one from The Illinois Concert seems especially durable.). And, Dolphy’s take on Monk’s “Epistrophy” on “The Last Date” recording is amazing. Although the alto was his main axe, Dolphy was the first flutist to move beyond bop (influencing James Newton) and he largely introduced the bass clarinet to jazz as a solo instrument. Eric Dolphy’s solo and duet recordings are simultaneously thoughtful and soulful, tender and passionate. Hi Fly John Coltrane was given his flute and bass clarinet upon his death, and according to his biography used to travel with a photograph of their owner. To say that Eric Dolphy died in his prime would be a massive understatement. Dolphy’s ascendant profile stemmed from his pervasive role in a turbulent, more unstructured music that was shaking the foundations of bebop much as bop had rattled swing jazz 15 years before. Such is the volatile Eric Dolphy, a serious wailer on the alto sax and even more idiosyncratic and radical on the bass clarinet, who barges into the lair of Juan Amalbert's Latin Jazz Quintet and doesn't perturb them in the least ... Not an ideal match, then, but fascinating without a doubt". It builds on the most valuable and adventuresome elements of the jazz tradition to make something new and personal – indeed, you can hear how the stepping stones in Dolphy’s development lead up to this recording. But it is the opposite of “anti-jazz,” the epithet most often thrown at Dolphy and other avant-garde jazz musicians. of course black symphony musicians in the 20th century was unheard of then. Born in Los Angeles in 1928, Eric Dolphy learnt clarinet and alto saxophone from an early age.

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