Eric Dolphy has sometimes been described as an iconoclast, but in Outward Bound, he was not overturning his idol, Charlie Parker; he was building on Bird’s legacy. In the case of myself, I had to find something what to do. So deep was Dolphy’s musicianship, so free his imagination, that he enchanted trailblazers like … Can you put it into words? To place an order or for customer service, call toll-free 1-800-336-4627 or outside the United States, call 1-610-649-7565 In 1960, Eric Dolphy told Down Beat magazine, “At home I used to play, and the birds always used to whistle with me. I'm saying he has training, better equipped, that he has a little more technique, so he doesn't know what to do with it. John immediately rose to his partner's defense, claiming Eric was a long time friend and a student of jazz with whom he freely exchanged ideas. the thing only happens at the moment when you do it, it opens up a whole different kind of hearing, a connection there of people expressing themselves in the same way. Anyway, that's who I think it is and I loved Eric Dolphy. Some user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. You print that. Artists Eric Dolphy (as, bcl, fl, cl) Ron Carter (vc) George Duvivier (b) Roy Haynes (d) recorded Rudy Van… African Lady (Take 4) Body And Soul (Take 2) Hazy Hues (Take 5) Moods In Free Time (Take 5) Quiet, Please (Take 1) Reincarnation Of A Love Bird (Take 1) ED: And not only, I can't say if Indian music and jazz, but to even go into other folk forms of music. IN da LIBRARY 2020/08/30 14:55. The next time I see him I'm going to step on his foot. On a few occasions, he also played the clarinet and piccolo.Dolphy was one of several multi-instrumentalists to gain prominence around the time that he was active. and what I could say on that [?]. L.F.: Down Beat won't print those words. Of course, you only can play what you can hear, and quite naturally... more or less I guess what I hear is not to your hearing, to what you're hearing. LF: For one thing, I would I would like to make it clear that I don't think I understand (short pause) as a musician you know certain things I don't understand about what you are doing and I am, I would like to maybe get them clarified in my own mind so that I can make it clear for the average reader too (ED: uh huh) you know (longer pause) (garbled, unclear) what is happening and what people like you are doing harmonically. He's a sad motherfucker. Leonard Feather interviews Eric Dolphy, this interview is originally published at Alan Saul website. And out of this I'm sure will come something else, it just has to go ahead, has to go [?]. Dolphy and young Ron Carter, heard here on cello rather than bass, interact throughout with a closeness bordering on the extrasensory, and on Charles Mingus’s “Eclipse” and especially Hale Smith’s “Feathers,” Dolphy produces two of the most moving … LF: No. It's very hard to explain, very hard to analyze. LF: Well, if your foundation is not a chord sequence, which is what the traditional basis of jazz was, then what is the foundation? Eric Dolphy's second album as a leader was recorded in 1960, while he was still playing with Charlie Mingus, and just before his association with Ornette Coleman on the legendary Free Jazz sessions. More than.. more more the line is not, er er, the lines are not held to no chord patterns, harmonically. And a lot of people say they're wrong. ED: This automatically gives him a little more time to think, and he can play, I'm sure that he can think, and it gives him the chance to unfold a lot more, a little thing, and basically ... if music... Not speaking about Mr. Coltrane, but speaking about music in general, of all types of forms, like in Indian music, they only, if we listen to their music, they only have usually 1, in our Western music we can usually hear 1 minor chord, but usually they call it a raga, or scale, and they'll play for 20 minutes. Connect your Spotify account to your Last.fm account and scrobble everything you listen to, from any Spotify app on any device or platform. ED: It's a challenge, and it's, not even more of a challenge, but it's even a, where a creative musician, if he IS creative enough, is to create on that limited an amount of, how should we say. Scrobbling is when Last.fm tracks the music you listen to and automatically adds it to your music profile. He creates out of that amount. And then he's bending notes, and all these things. Thrilling | Eric Dolphy. ED: something to work with. American jazz alto saxophonist, flautist and bass clarinetist, Eric Dolphy was also fluent in clarinet, piccolo and baritone saxophone. Yes, that’s right, my friends. Eric Dolphy's second album released as band leader, following his time tenure with Charles Mingus features four original compositions by Dolphy and covers of works by Mingus, Randy Weston and Hale Smith. I had an experience, I played at a festival in Washington, D.C. and I got a chance to hear the Eureka Jazz Band. Allan Sutherland and Ray Tennenbaum sent me transcriptions of parts 1 through 4 below. To me, it gives me a much more broader, it gives me more things to play, it opens up a whole different type of hearing. So that's what I came about it. Just to be running notes at random. Basically I think he's saying that you work to create music by studying but in the end that work is just a way to accomplish the task of making the music that you hear in your head, and that the technical aspects aren't as interesting as the creative part. So, I had a chance to get right, I stood, they were standing one time, and I stood right in the midst of them. Selection 1: Feathers (Hale Smith) Selection 2: Serene (Dolphy) Something 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. LF: What about the harmonic point that has been made against, particularly against Coltrane, that he'll play for 25 minutes on just 2 chords, and that this is actually retrogressive in terms of harmonic development in jazz? Dolphy didn't seem so articulate, but when I thought about what he's saying it was quite enlightening. So quite naturally, I hear, uh, more notes on uh, on the same thing that's been said before. And uh [pause] it's hard to say at the moment, as I'm sittin' here, because you know, ah, improvisation - the thing only happens at the moment when you do it-. ED: Well, I can't speak for what Mr. Coltrane would say, but I can speak as far as what I could think. Eric actually found it more challenging for a creative musician to play over a sparse framework. And listened to them play, and I couldn't see much difference between what I was doing to what they were doing, and the fact that they, more like, they were more tonal, of course, but they had a lot of freedom to what they were playing, because I could hear notes that they were playing, and, they didn't have any, you know, very strongly, right into, strong chords, like a G chord, or a C chord, they were playing F-sharps, and C-sharps, of course they were passing tones, but they were improvising. The composition is sad. LF: You've mentioned the fact that this is greater freedom than for the earlier forms. ED: And ah, I'm not sayin' I would play an F-sharp chord just to play an F-sharp chord, I would - I could play F-sharp chord and, and, and - and it would sound - to me it would sound okay with that F7. The follow-up album to Outward Bound, Eric Dolphy 's second effort for the Prestige/New Jazz label (and later remastered by Rudy Van Gelder) was equally praised and vilified for many reasons. ED: You know, like music contains like, rhythm, and pitch, time, space, and all these elements go into [?] Well, I can't say they're right, and I can't say they're wrong. Gunther had to say, "Eric, you'll have to just cool it a little bit. In order to have the best experience, please upgrade to a more modern browser. I mean what is, what is the difference between the limitations, there must be some limitations otherwise it, you would be arbitrary, you could just play any notes that you like. He doesn't have but so much to work with. Do you think that in these terms that Charlie Parker or Dizzy, or the earlier school, lack freedom, or sound old-fashioned as a result of the developments that have taken place? The more knowledge, as music progresses, it just has led musicians to play this way, to use different forms. This record is a milestone for the bop modern jazz/avant garde genre. [But I do!] Eric Dolphy, Coltrane's controversial cohort, was blamed of inciting John to abandon his modal melodies and explore the outer reaches of the avant garde. It's drowning out the rest of the band." Course, ah, then there's another thing that you play, in the modes, and then even though you're in the mode, you play outside of the mode, coming in and out of what you're playing. LF: Do you think he has enough to say on a limited number of chords to compensate for the lack of harmonic variation? LF: No, but, what I don't understand is what ARE they held to? Do you mean that he could say the same thing in a shorter length of time? We can't show you this lyrics snippet right now. ED: Do you mean... Let me see if I've got that question right. Go directly to shout page. And, you hear them play, you just hear the band and you hear the lead trumpet player's playing the melody, and probably more or less you hear the other sounds, the undertones sound. The lineup on this album includes the late Eric Dolphy (alto saxophone, flute, Bb and bass clarinets), Ron Carter (cello), George Duvivier (acoustic bass) and Roy Haynes (drums). Javascript is required to view shouts on this page. ED: No, it's a funny thing, man, I'm glad you asked me that. This is a fantastic ensemble that is capable of great ensemble work and superb soloing. For my hearing I'm right, and... LF: You think it's just a matter of the listener becoming accustomed to it? I mean, that he's saying the same thing on a very limited number of chords. ED: [?] Eric Dolphy // 245 Transcription Firtst chorus of Eric Dolphy's blues 245 or "The Meeting" as it says on the Berlin Concerts live album.. his runs are too dificult to hear out and transcribe, but this first chorus is extremely ... Eric Dolphy solo transcription - The Drive Transcription of Eric Dolphy's solo on Oliver Nelson's "The Drive". And quite naturally you, ah - what is the word, intuitive? And so, they were, I think they were the first freedom players. I think he's ridiculous. Song information for Feathers - Eric Dolphy on AllMusic. ED: Well, it, you know, it always depends on the subject of what you're improvising on of course, (cough, LF: Yeah.) Out There is a studio album by jazz musician and composer Eric Dolphy, released by Prestige Records in September 1961. ED: -whatever's around you, or with you, working together. In other words, he doesn't rely on changes. Quite naturally, a musician coming up now, he has had more training. The session players for the album include Ron Carter, George Duvivier and Roy Haynes. I couldn't make any musical sense out of it. Complete song listing of Eric Dolphy on OLDIES.com. To my hearing, they're exactly correct. Eric Dolphy lived from 1928 to 1964, and recorded primarily after 1959. View credits, reviews, tracks and shop for the 1965 Vinyl release of "Out There" on Discogs. And he gets, he has that moment, if I've noticed, he's never said anything to me, but I've noticed from listening, that he doesn't, he'll play long sometimes, he can play long anyhow, he has such a thing that he can go through, sometimes he'll get inspired at that moment, he'll carry himself over, and I've seen, it is true of other players. I've heard records by them where they do things, and you hear them playing, this particular thing goes over and over, and to the listener that doesn't pay attention close to the notes, the typical sound will get monotonous. So, like, not to say that the musicians are just doing this to keep up with the Indian musicians, but I think that it's a little connection there, because, classical Indian music is the Indian music of the people, and jazz is the music of the American people, especially the American Negro, and it's their music, so quite naturally, there's something of a connection there, of people expressing themselves in the same way. That is I think. ED: Yeah. Corrections are welcomed. I have gone to absurd lengths to find you the finest (stereo) pressing of this very very fine record. Now, and, a lot of things, a lot of knowledge I have about, I knew about this quite a while ago but I couldn't do it because I couldn't hear, you know, and it's not a case of just like, going out and you say "Well, I'm just gonna play anything". I mean, to spell a line against what I hear. ED: Yeah, well that's... You see, that is another complexity in itself of playing on 1 or 2 changes. Dolphy was the first important bass clarinet soloist in jazz, and one of the first viable flute soloists in jazz. He knew what he was doing. Internet Explorer is no longer supported on Last.fm. "You see, that is another complexity in itself, of playing on 1 or 2 changes." ED: Yeah. Which is nothing but a flat nine - I'll play an F-sharp chord against that. Born in 1928, he was one of a select few multi instrumentalists to gain huge popularity among jazz enthusiasts in the late 1950s and early 1960s. A new version of Last.fm is available, to keep everything running smoothly, please reload the site. So actually, I think that all this in a way has a connection with the artist over here, and everywhere; it's not a question of anybody trying to outdo them and stuff, it's just the fact that they're just going through the same development. I've noticed, I've heard it said that Bartok and Kodaly collected many folk themes on, what is their music, I forget their music, their particular music and where they're from, their land... ED: Hungary! Of course if you're playing freer forms and the harmon..., improvisation is much more freer and you have much more things that you can play. All this goes into this, this type of playing today. But that isn't true, because he has something in mind. Feathers; Product Description: The follow-up album to Outward Bound, Eric Dolphy's second effort for the Prestige/New Jazz label (and later remastered by Rudy Van Gelder) was equally praised and vilified for many reasons. Listen to the audio recording of this interview. ED: - And you keep creating until you state a phrase. ED: You understand what I mean? Eric Dolphy is one of those true musical giants that transposed the muusical sound to far into the future. Eric Dolphyインタビュー(2016) 1. : Just put he's a sad shhhhhhhhh, that's all! We currently don't have any genres associated with this song. And uh. Would you like to contribute? M.D. He will very often play a number that is based only on 2 or 3 changes actually, 2 or 3 chords. You have more to play. So if I have an F7, I'd most likely play F-sharp! The album features four original compositions by Dolphy, one of which is … But as I play more and more I hear more notes to play against the more common chord progressions. Stream and download in Hi-Res on Qobuz.com At a time when the "anti-jazz" tag was being tossed around, Dolphy 's nonlinear, harshly harmonic music gave some critics grist for the grinding mill. ED: So, with them, like in talking to Mr. Shankar, Ravi Shankar, they study for quite a while to get enough material to even work with. Eric Allan Dolphy Jr. (June 20, 1928 – June 29, 1964) was an American jazz alto saxophonist, bass clarinetist and flautist. and then, uh... (pause) what, you know, the subject you are improvising on. improvisation, improvising, you have to take that into consideration. A true genius. And uh. Dolphy didn't seem so articulate, but when I thought about what he's saying it was quite enlightening. Not to say he's better, I'm not saying he's much better. Feather also complained that Coltrane's endless soloing was monotonous when compared to the lush harmonic complexity of an Ellington arrangement. ED: And quite naturally it might change. View credits, reviews, tracks and shop for the 1977 Vinyl release of "Out There" on Discogs. And so, a lot of people say they hear guys playing, they say "He's just running notes." Welcome to Dolphy-L, a discussion list concerning the musician Eric Dolphy and related topics. And, it just, it makes everything much more broader. Eric Dolphy - alto sax Ron Carter - cello George Duvivier - bass Roy Haynes - drums Written by Hale Smith Recorded August 15, 1960 Originally released on the album Out There, New Jazz 8252, 1960, Eric Dolphy - alto sax Ron Carter - cello George Duvivier - bass Roy Haynes - drums Written by Hale Smith Recorded August 15, 1960 Originally release…, Eric Allan Dolphy (June 20, 1928 – June 29, 1964) was a, Creative Commons Attribution-ShareAlike License. But to the person that listens to the actual notes and the creation that's going on and the building within the players and within themselves, they'll notice that something is actually happening. 翻訳元の記事↓ The Eric Dolphy Interview (Leonard Feather, 1960s)Audio: Your brow. Which is monotonous compared with the considerable harmonic complexity of say an Ellington thing, or even a tune like All the Things You Are. See, I'll even go farther than that. In my opinion when you speak of Miles, Monk, Mingus, Ellington, Coltrane among others, Eric Dolphy should fit into the mix somewhere. ED: Well it - it - you see, some things like you play are not based on chords, they're based on freedom of sound, you start with one line and you keep inventing as you go along, line-wise -. I did the rest. ログイン 新規登録 Eric Dolphyインタビュー(2016) IN da LIBRARY. Dolphy countered. It's not a question of just running notes. That's got to be Eric Dolphy - nobody else could sound that bad! ED: Well that's the idea you CAN play every note that you like. The follow-up album to Outward Bound, Eric Dolphy's second effort for the Prestige/New Jazz label (and later remastered by Rudy Van Gelder) was equally praised and vilified for many reasons. He would go, as I say, as opposed to that other gentleman, Eric would go outside and he knew where the roots were. Quite naturally, you run the chord, but you use other - other notes in the chord to give you other certain expressions to the song, otherwise you'd be playing what everybody else is playin'. Not to say in the sense of finding something to do just to exhibit my technique, but to find something to do to enhance some kind of musical, make some kind of musical sense, and I found that within my playing that I could play notes, not at first, because at first I couldn't hear these notes, so I wouldn't play them. So harmonically, uh, it's not held down to the old thing of where you have a seventh chord and you- you ah, keep running the chord. Eric Allan Dolphy (June 20, 1928 – June 29, 1964) was a jazz musician who played alto saxophone, flute and bass clarinet and was educated at Los Angeles City College. It was Dolphy's second album released as band leader, following his time with Charles Mingus. I know from listening and working with him, that he is, he plays SO much, and he has, a big, as we say, a bag, not a bag of tricks, but a bag of ideas that he has. https://rateyourmusic.com/release/album/eric-dolphy/out-there Best Pressing Shootout: Eric Dolphy, Out There — 1969 Prestige Blue Trident Stereo vs. 1968 Xtra UK Stereo vs. 1975 Toshiba-EMI Japan Stereo vs. 1977 Victor Japan Mono. It took me a little while to appreciate this.