Dolphy Out To Lunch Rar
Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute 'Hat and Beard,' the aptly titled 'Something Sweet, Something Tender,' the weirdly jaunty flute showcase 'Gazzelloni,' the militaristic title track, the drunken lurch of 'Straight Up and Down' -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes.
May 23, 2011 - Out To Lunch kicks off with 'Hat and Beard', a tribute to the High Priest of Bop, Thelonious Monk. Instead of a pianist Dolphy employs Bobby. Jazz albums in mp3 and flac. Piratebay and mediafire. Eric Dolphy - Out to Lunch! Piratebay mp3 • Piratebay FLAC Email ThisBlogThis!
| Title/Composer | Performer | Time |
|---|---|---|
| 1 | Hat and Beard | 8:27 |
| 2 | 6:05 | |
| 3 | 7:23 | |
| 4 | 12:09 | |
| 5 | 8:20 |
Selection 1: Feathers (Hale Smith)
https://londonjazzcollector.files.wordpress.com/2013/05/temp0-428.mp3Selection 2: Serene (Dolphy)
https://londonjazzcollector.files.wordpress.com/2013/05/temp0-428.mp3Something both malevolant and beautiful about the avant-garde’s treatment of tenderness, peace and tranquility, exposing flashes of barely concealed danger, somewhere Freddie Krueger is loose in Snow White’s boudoir.
Artists
Eric Dolphy (as, bcl, fl, cl) Ron Carter (vc) George Duvivier (b) Roy Haynes (d) recorded Rudy Van Gelder Studio, Englewood Cliffs, NJ, August 15, 1960
Year: context 1960
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Music:
A month after recording with Mingus at Antibes, Out There is Dolphy’s second album as leader, the follow up to Outward Bound.
Dolphy stands uniquely original with his veritable arsenal of wind instruments – alto, bass clarinet, flute, b-flat clarinet, Kalashnikov AK-47. Not content with mayhem in the lead instrument department Dolphy doubles up in the bass department, bringing in Ron Carter on cello beside George Duvivier on bass, and just to confuse everyone, the unflappable swing drummer, Roy Haynes. Even before the needle hits the groove you know you are going to be in for an unpredictable listening experience. This was one of the few records I have been initially frightened to play, listening in safety from behind the sofa.
One can only imagine how strange it must have sounded to audiences in 1960, not previously exposed to such eclecticism. Nowadays we think we have heard it all, but not like this.Released three years before Dolphy let loose the avant-garde bible Out to Lunch, Out There is more ambitious and jagged than Outward Bound. Compared with the music around it in 1960, it is an unusual album by any standard, approaching tonality in a non-linear and harshly harmonic way few others, before or after, have ever attempted.
Vinyl: Esquire 32-153 UK first release
For once, Esquire may have got it right in the musician-as-hero alternative cover department.
Eric Dolphy Out To Lunch Blogspot
It’s a change from their usual budget-typography-and-graphics, homing in on the persona of Dolphy at play rather than Prestige’s choice of surrealist painting, though that too seems quite fitting to the music in its own way. Unfortunately, it is very hard to find – affordably, as an original.
Like all other Esquire 32-000 series, it is pressed with original Prestige metalwork – an RVG master – though no indication of the US manufacturer, no AB. The bonus, as a UK pressing, it is free from the risk of recycled vinyl contamination which marrs some original New Jazz pressings.
Rear cover conforms to the expected chronology, of later Esquire first pressings
Collector’s Corner
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Source:
London record store in the fashionable West of London still awaiting delivery of its “LJC Shops Here” blue plaque. An unexpected find, one of the rare pleasures of flicking through shelves of lesser works, stops you in your tracks, however, inflicting some pain in the credit card department. You wouldn’t expect fine champagne for the ears for the price of a can of lager would you? The store manager knows his stuff. Unfortunately.
Postscript:
Latest comment in a record 89 SPAM posts received in one day at LJC
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and 88 others. It’s all true.Thank you, thank you so much.
LJC