Fifty years on, there's plenty there to be inspired by. Eric Dolphy: “Out To Lunch” (Blue Note 84163/HD Tracks FLAC remaster), boycotts against the public schools in New York City, new high definition remaster available from HD Tracks, Erroll Garner: “Ready, Take One” (Columbia/Legacy 36331)/ Shirley Horn: “Live at the Four Queens” (Resonance 2015). After he chose to stay in Europe, Dolphy had a few gigs but then died suddenly from a diabetic coma at the age of 36, a major loss. "[3] The third composition, "Gazzelloni", which showcases some of Dolphy's most advanced flute work,[7] was named after classical flautist Severino Gazzelloni,[3] but is actually the album's most conventional, bop-based theme. Out to Lunch! recording session. View credits, reviews, tracks and shop for the 1976 Vinyl release of Out To Lunch! On the title track, the pulse is implied rather than being stated explicitly, which lends a sense of freedom. I’ve struggled with this album for years: a college roommate gave me a copy when I was deep into Dolphy’s work, but I was turned off by the disparity between Dolphy’s evocative compositions and the seeming chaos of the free solos. Indeed, all three of these musicians are commentators, not timekeepers. Emphatically so. "[7], Roughly a month after the Out to Lunch! From Williams’ animated commentary alongside Dolphy’s flute to the near dissipation of the rhythm in the middle of Hubbard’s solo, and then back up again behind Hutcherson, the rhythm section seems to spontaneously find its own path. Dolphy expressed his excitement regarding the opportunity to work with Hutcherson again, stating: "Bobby's vibes have a freer, more open sound than a piano. Breaking away from the clichés of postbop jazz and speaking boldly on his array of instruments (flute and alto sax as well as bass clarinet, seldom heard at the time but sounding profoundly visceral in his hands), Dolphy displayed the avant-garde … [7] Dolphy commented: "The group got just the lyrical feeling that I wanted, and, taking it out, Richard and I really got together in the unison duet. Morton praised Dolphy's playing, commenting that he was "an 'episodic' player, like an obsessive tale-spinner who shifts from 'reminds me of' to 'and then there was the time when', not quite non sequiturs but not quite obviously connected either. The Penguin Guide to Jazz selected Out to Lunch! Spellman writes that “this is not music to roller skate by”. Not only are they free from keeping time, the pulse is allowed to fluctuate as the pieces evolve (this concept was also present on Hill’s “Judgment”). While no amount of remastering can completely cure all of the problems of analog tape (there are occasional spots of distortion and a bad instance of print-through on “Out To Lunch”), the presence and vitality of the sound is far superior to any previous editions of these albums. In the original liner notes to Eric Dolphy ’s “ Out To Lunch ”, A.B. It's blues from hell, and it sets the pace for the entire record. The rhythm section is amazing throughout the album, but follow them through “Gazzelloni” as they shift the levels of energy and musical direction without disrupting the flow of the music. Bonus tracks on 2013 Japanese limited SHM-CD: This article is about the jazz album. as "one of the finest records of its kind", "easily at the caliber of A Love Supreme and The Shape of Jazz to Come". This company has reissued several Blue Note classics and the sound is truly remarkable. is a 1964 album by jazz multi-instrumentalist Eric Dolphy. Free-flying Eric Dolphy veered into the contrarian zone in his musical approach on his one and only Blue Note album, Out to Lunch. "[3] The piece features wild bass clarinet playing, and contains a percussive interlude featuring Williams and Hutcherson. According to Reid, the album "is as commanding and demanding as it was over four decades ago, which says something about how so many young -- and older -- jazz musicians have retreated from the barricades, and the frontiers that Dolphy saw should be explored as part of the essential contract of jazz."[20]. The rhythm section sounds entirely different than any other rhythm section of its time. However, that compression did not seem to diminish the superior fidelity of these fine remasters. "[16], Kevin Whitehead, writing for NPR, referred to Out to Lunch! Beyond that, Dolphy, in the liner notes, stated: "I'm on my way to Europe to live for awhile. His only recording on Blue Note as a leader, it was originally issued as BLP 4163 and BST 84163. Out to Lunch! Today it is generally considered one of the finest albums in the label's history, as well as one of the high points in 1960s avant-garde jazz and in Dolphy's oeuvre. with Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams. “Out To Lunch” showed that Dolphy was also a fine composer and bandleader, with daring ideas of how music could be played and presented. His only recording on Blue Note as a leader, it was originally issued as BLP 4163 and BST 84163. Dolphy and Hubbard also appeared together on Ornette Coleman's 1960 album Free Jazz. All rhythm sections are different, but this one was really open..."[3]. "[5] Davis, with Hutcherson, had recently played on Andrew Hill's album Judgment!. He was an instant composer rather than a strict improviser. When everyone returns after Davis, there is an episode that sounds like a series of fours with Williams, but it never really turns out that way.


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