ERIC DOLPHY

Eric Allan Dolphy (June 20, 1928 – June 29, 1964) was an American jazz alto saxophonist, flautist, and bass clarinetist.

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Dolphy was one of several groundbreaking jazz alto players to rise to prominence in the 1960s. He was also the first important bass clarinet soloist in jazz, and among the earliest significant flute soloists.

His improvisational style was characterized by the use of wide intervals based largely on the twelve tone scale, in addition to using an array of extended techniques to reproduce human- and animal-like effects which almost literally made his instruments speak. Although Dolphy's work is sometimes classified as free jazz, his compositions and solos had a logic uncharacteristic of many other free jazz musicians of the day; even as such, he was considered an avant-garde improviser. In the years after his death, his music was described as being "too out to be in and too in to be out."

Dolphy posthumously became an inductee of the Down Beat Jazz Hall of Fame in 1964.

Biography

Early life

Dolphy was born in Los Angeles and was educated at Los Angeles City College. He performed locally for several years, most notably as a member of bebop big bands led by Gerald Wilson and Roy Porter. On early recordings, he occasionally played soprano clarinet and baritone saxophone, as well as his main instrument, the alto saxophone. Dolphy finally had his big break as a member of Chico Hamilton's quintet. With the group he became known to a wider audience and was able to tour extensively through 1959, when he parted ways with Hamilton and moved to New York City.

Early partnerships

Coltrane had gained an audience and critical notice with Miles Davis's quintet. Although Coltrane's quintets with Dolphy (including the Village Vanguard and Africa/Brass sessions) are now legendary, they provoked Down Beat magazine to brand Coltrane and Dolphy's music as 'anti-jazz'. Coltrane later said of this criticism: "they made it appear that we didn't even know the first thing about music (...) it hurt me to see [Dolphy] get hurt in this thing."

The initial release of Coltrane's stay at the Vanguard selected three tracks, only one of which featured Dolphy. After being issued haphazardly over the next 30 years, a comprehensive box set featuring all of the recorded music from the Vanguard was released by Impulse! in 1997. The Complete 1961 Village Vanguard Recordings carried over 15 tracks featuring Dolphy on alto saxophone and bass clarinet, adding a new dimension to these already classic recordings. A later Pablo box set from Coltrane's European tours of the early 1960s collected more recordings with Dolphy for the buying public.

During this period, Dolphy also played in a number of challenging settings, notably in key recordings by Ornette Coleman (Free Jazz: A Collective Improvisation), arranger Oliver Nelson (The Blues and the Abstract Truth and Straight Ahead) and George Russell (Ezz-thetics), but also with Gunther Schuller, Max Roach and Abbey Lincoln, multi-instrumentalist Ken McIntyre, and bassist Ron Carter among others.

As a leader
 
Dolphy's recording career as a leader began with the Prestige label. His association with the label spanned across 13 albums recorded from April 1960 to September 1961, though he was not the leader for all of the sessions. Prestige eventually released a 9-CD box set containing all of Dolphy's recorded output for the label.

Dolphy's first two albums as leader were Outward Bound and Out There. The first, more accessible and rooted in the style of bop than some later releases, was recorded at Rudy Van Gelder's studio in New Jersey with hard-bop trumpeter Freddie Hubbard. However the album still offered up challenging performances, which at least partly accounts for the record label's choice to include "out" in the title. Out There is closer to the third stream music which would also form part of Dolphy's legacy, and reminiscent also of the instrumentation of the Hamilton group with Ron Carter on cello and Dolphy on bass clarinet, clarinet and flute as well as saxophones.

Far Cry was also recorded for Prestige in 1960 and represented his first pairing with another important partnership, trumpeter Booker Little, a like-minded spirit with whom he would go on to make a set of legendary live recordings at the Five Spot in New York before Little's tragic death at the age of 23.

Dolphy would record several unaccompanied cuts on saxophone, which at the time had been done only by Coleman Hawkins and Sonny Rollins before him. The album Far Cry contains one of his more memorable performances on the Gross-Lawrence standard "Tenderly" on alto saxophone, but it was his subsequent tour of Europe that quickly set high standards for solo performance with his exhilarating bass clarinet renditions of Billie Holiday's "God Bless The Child". Numerous recordings were made of live performances by Dolphy on this tour, in Copenhagen, Uppsala and other cities, and these have been issued by many sometimes dubious record labels, drifting in and out of print ever since.

20th century classical music also played a significant role in Dolphy's musical career. He performed Edgard Varèse's Density 21.5 for solo flute at the Ojai Music Festival in 1962 and participated in Gunther Schuller's Third Stream efforts of the 1960s.

In July 1963, Dolphy and producer Alan Douglas arranged recording sessions for which his sidemen were among the leading emerging musicians of the day. The results were his Iron Man and Conversations LPs. Around this time Dolphy's pianist was occasionally the young Herbie Hancock, this group was recorded at the Illinois Concert and others.

In 1964, Dolphy signed with Blue Note Records and recorded Out to Lunch! with Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams. This album was deeply rooted in the avant garde, and Dolphy's solos are as dissonant and unpredictable as anything he ever recorded. Out to Lunch, his last major studio recording, is often regarded not only as Dolphy's finest album, but also as one of the greatest jazz recordings ever made.

His final months (1964)

After Out to Lunch! and an appearance as a sideman on Andrew Hill's Point of Departure, Dolphy left to tour Europe with Charles Mingus' sextet in early 1964. From there he intended to settle in Europe with his fiancée, who was working on the ballet scene in Paris. The Mingus band for this tour is recorded on the Cornell 1964 album and is one of Mingus' strongest line-ups, including Dolphy and pianist Jaki Byard. After leaving Mingus, he performed with and recorded a few sides with various European bands, including the mis-named Last Date with Misha Mengelberg and Han Bennink, and was preparing to join Albert Ayler for a recording.

The liner notes to the Complete Prestige Recordings say that on June 28, 1964 Dolphy "collapsed in his hotel room in Berlin and when brought to the hospital he was diagnosed as being in a diabetic coma. After being administered a shot of insulin (apparently a type stronger than what was then available in the US) he lapsed into insulin shock and died." A later video documentary disputes this, saying Dolphy collapsed on stage in Berlin and was brought to a hospital. The attending hospital physicians had no idea that Dolphy was a diabetic and thought that he, like so many other jazz musicians, had overdosed on drugs, so he was left in a hospital bed until the drugs had run their course.

Dolphy died on June 29, 1964 in a diabetic coma, leaving a short but tremendous legacy in the jazz world. He was quickly honored with his induction into the Down Beat magazine Hall of Fame in 1964. Coltrane paid tribute to Dolphy in an interview: "Whatever I'd say would be an understatement. I can only say my life was made much better by knowing him. He was one of the greatest people I've ever known, as a man, a friend, and a musician." Dolphy's mother, Sadie, who had fond memories of her son practicing in the studio by her house, gave instruments that Dolphy had bought in France but never played to Coltrane, who subsequently played the flute and bass clarinet on several albums before his own death in 1967. Dolphy was engaged to be married to Joyce Mordecai, a classically-trained dancer.

Influence

Dolphy's musical presence was hugely influential to a who's who of young jazz musicians who would become legends in their own right. Dolphy worked intermittently with Ron Carter and Freddie Hubbard throughout his career, and in later years he hired Herbie Hancock, Bobby Hutcherson and Woody Shaw at various times to work in his live and studio bands. Out to Lunch! featured yet another young lion who had just begun working with Dolphy in drummer Tony Williams, just as his participation on the Point of Departure session brought his influence into contact with up and coming tenor man Joe Henderson.

Carter, Hancock and Williams would go on to become one of the quintessential rhythm sections of the decade, both together on their own albums and as the backbone of the second great quintet of Miles Davis. This part of the second great quintet is an ironic footnote for Davis, who was not fond of Dolphy's music yet absorbed a rhythm section who had all worked under Dolphy and created a band whose brand of "out" was unsurprisingly very similar to Dolphy's.

In addition, his work with jazz and rock producer Alan Douglas allowed Dolphy's style to posthumously spread to musicians in the jazz fusion and Rock environments, most notably with artists John McLaughlin and Jimi Hendrix. Frank Zappa, an eclectic performer who drew some of his inspiration from jazz music, paid tribute to Dolphy's style in the instrumental "The Eric Dolphy Memorial Barbecue" (on the 1970 album Weasels Ripped My Flesh).

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Jazz needs Eric Dolphy more than ever. A virtuoso on saxophone, clarinet and flute, his work bridges the two sides of a debate that dogs jazz fans and performers today. To oversimplify, the neoconservatives argue that jazz must be profoundly grounded in tradition, that new developments are little more than a gloss, and that history stops with Miles Davis and modal jazz in the middle '60s, with bare whispers of Ornette Coleman and nothing from swingless radicals like Cecil Taylor. The rebels (most now older than the neocons) counter that jazz loses its essence by going backward, that the titans revered by the neocons were fearless innovators, and that the whole reactionary movement reduces jazz to a museum music with a self-righteous fence around it. Dolphy could have listened to both sides, picked up his horn, and showed the way out in a dozen choruses. But he died in 1964, barely 36, struck down by complications stemming from undiagnosed diabetes. 

Dolphy, who studied classical flute with Elise Moennig (and brought the instrument into jazz more forcefully than anyone before him) and founded the bass clarinet as an improvising horn, flourished in a jazz scene far more turbulent and riven than today's. A Los Angeles native who honed his chops for years on the local scene, he gained national attention as a member of the Chico Hamilton band, and went out on his own at the end of 1959. By then, Taylor and Coleman had already dropped the bombshells that ignited free jazz, and the response to their challenge would dominate the next 10 years of the music. Dolphy began with a blast of creativity: he would never record as much for the rest of his life as he did in 1960-61. Many key parts of those sessions are gathered together for the first time on the 9-CD box "Eric Dolphy: The Complete Prestige Recordings" (Milestone). 

No acquaintance ever had a bad word to say about Eric Dolphy the person. All describe him as calm, kind, witty, humble and introspective. The mercurial bassist and band leader Charles Mingus, a harsh judge of character, called Dolphy "a saint." He needed the internal fortitude to withstand the resistance his work met not only with the public but with more traditional jazz players. Financially strapped his whole career, Dolphy had to scramble for gigs. He never touched drugs or alcohol. His only addiction was constant practicing -- in the bathroom between sets, next to the record player at parties. 

The sound-blip version of Dolphy is that he was freer than John Coltrane but more traditional than Ornette Coleman. He met both men in the middle '50s and later played crucial dates with them, as well. But Dolphy's technique and soul stand apart.

Source: http://www.salon.com/05/reviews/dolphy.html

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Discography

As leader

Hot & Cool Latin (1959)
Wherever I Go (1959)
Status (1960)
Dash One (1960)
Outward Bound (1960)
Here and There (1960)
Looking Ahead (1960)
Fire Waltz (1960)
Other Aspects (1960)
Out There (1960)
The Caribe with the Latin Jazz Quintet (1960)
Candid Dolphy (1960)
Magic (1960)
Far Cry (1960)
Eric Dolphy (1960)
The Quest (1961)
The Great Concert of Eric Dolphy [live] (1961)
Live! at the Five Spot, Vol. 1 (1961) with Mal Waldron and Booker Little
Live! at the Five Spot, Vol. 2 (1961)
* Eric Dolphy and Booker Little Memorial Album (1961) (more from the Five Spot)
Latin Jazz Quintet (1961)
Berlin Concerts [live] (1962)
Eric Dolphy in Europe, Vol. 1 [live] (1961)
Eric Dolphy in Europe, Vol. 2 (1961)
Eric Dolphy in Europe, Vol. 3 (1961)
Copenhagen Concert [live] (1961)
Softly, As in a Morning Sunrise (1961)
Quartet 1961 (1961)
Vintage Dolphy (1962)
Eric Dolphy Quintet featuring Herbie Hancock: Complete Recordings (1962)
Conversations (1963) (also known as Jitterbug Waltz)
Iron Man (1963)
The Illinois Concert [live] (1963)
Out to Lunch! (1964)
Last Date (1964)
Naima (1964)
Unrealized Tapes (1964)

As sideman

Chico Hamilton
Chico Hamilton Quintet with Strings Attached (1958)
The Original Ellington Suite (1958)
Chico Hamilton - Gongs East! (1958)
That Hamilton Man (1959)(also released as Truth

Charles Mingus
Pre-Bird [aka Mingus Revisited] (1960)
Charles Mingus Presents Charles Mingus (1960)
Mingus at Antibes (1960)
Mingus Mingus Mingus Mingus Mingus (1963)
Town Hall Concert (1964)
The Great Concert of Charles Mingus (1964)
Revenge! (1964)
Charles Mingus Sextet with Eric Dolphy: Cornell 1964 (1964)

Ornette Coleman
Free Jazz: A Collective Improvisation (1960)

Oliver Nelson
Screamin' the Blues (1960)
The Blues and the Abstract Truth (1961)
Straight Ahead (1961)

John Coltrane
Olé Coltrane (1961)
Africa/Brass (1961)
Live! at the Village Vanguard (1961)
Impressions (One Track, "India") (1963)

Makanda Ken McIntyre
Looking Ahead (1960)

Booker Little
Out Front (1960)

George Russell
Ezz-thetics (1961)

Max Roach
Percussion Bitter Sweet (1961)

Andrew Hill
Point of Departure (1964)

John Lewis
The Sextet of Orchestra U.S.A. (1964)
John Lewis Presents Jazz Abstractions (1960)