That may seem a mighty bold statement. Williams is already testing that idea on Out to Lunch, rethinking the drum set's components; his hi-hat alone makes this one of his classics. His work is not altogether estranged from the music that came before. Out to Lunch is free and focused, dissonant and catchy, wide open and swinging all at once. One moment, you will be redirected shortly. It is easy to parallel the two musicians; once they stepped out the shadows of their mentors they created some the greatest and most original work of the '60s. But here Hutcherson also takes his foot off the pedal and strikes the metal bars hard, for a rude clanky sound akin to Monk's piano. hide caption. The equally resourceful bassist is sure-footed Richard Davis. It's time to get weird. His playing here is a compendium of modern bass strategies: He'll walk fast, sing with a bow, play counterpoint, toy with the melody, or stubbornly stand his ground. Being a Charles Mingus fanatic, I often ask the question, "Are you into Eric Dolphy?"

Unlike Taylor, Eric tried for natural or possibly 'nature' sounds which included imitating bird and others gathered from nature. Suggested Listening: Eric Dolphy - At the Five Spot ' Prestige, 1961 Eric Dolphy - Outward Bound ' Prestige, 1960 Eric Dolphy - Iron Man ' Verese, 1963 Eric Dolphy - Last Date ' Westwind, 1964, With Mingus and Other Players: Charles Mingus - Mingus at Antibes - Atlantic, 1960 Charles Mingus - The Complete Candid Recordings - Mosaic, 1961 Ornette Coleman Double Quartet - Free Jazz (A Collective Improvisation) - Atlantic, 1961 John Coltrane ' Complete 1961 Village Vanguard Recordings - Impulse!, 1961/ GRP 4-disc box set, 1997 Booker Little - Out Front - Ace ,1961.

His use of Dolphy's multi-instrumentalist-bass clarinet, alto sax and flute-tact and original style was a big part of the Workshop and was heartbroken when Dolphy headed back out on his own as a bandleader. If nothing else his style builds on the work of bebop masters. Bobby Hutcherson made Out to Lunch about the weirdest vibraphone showcase ever. Little did anyone know at the time, that little Eric would grow up to be one of the most controversial figures in jazz. But none sounds as far ahead of its time as Eric Dolphy's masterpiece Out to Lunch, recorded for Blue Note on Feb. 25, 1964. That, my dear fellow jazzites, is totally unacceptable! Out to Lunch!. You can also hear it in ambitious music by all sorts of modern composers who grapple with the same kind of contradictions Dolphy did. Out to Lunch was too odd to be an immediate trendsetter, but in time you could hear its influence in Anthony Braxton's or Roscoe Mitchell's zigzag solos and odd timbres, in David Murray's yawping bass clarinet and Jason Adasiewicz's clanking vibes. The magic is the way Dolphy leads his band. Eric Dolphy in Copenhagen, 1961. Is this true? JP Jazz Archive/Redferns Out To Lunch is certainly Eric Dolphy's most adventurous album and his most self consistent attempt at freedom within some, at least of the confines established by bop writing. Find articles, news, musician pages, and more! VMP Anthology: The Story of Herbie Hancock. None the less Dolphy shows his passion and unique style that would influence future players still to this day. A great example of the record's contrast in sound is "Something Sweet, Something Tender," which lays out a smooth layer of vibes by Bobby Hutcherson before Dolphy launches into his atonal attack. On "Hat and Beard," the title a nod to Thelonious Monk, Williams finds myriad ways to provoke Dolphy's yawping bass clarinet, an instrument Dolphy had pretty much to himself as a soloist. The magic is the way Dolphy leads his band. The following year, Williams would propose to Davis' band that they play "anti-music" — the opposite of what anyone would expect.

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