Out To Lunch!

About

Inimitable multi-reedist Eric Dolphy joined the Blue Note roster in time to make one of the label’s definitive recording, <i>‘Out to Lunch!’</i>, in February 1964. This was Dolphy’s first full album of original composition, arguably his first wholly mature statement. But on June 29, the 36-year-old died of undiagnosed diabete. <i>‘Out to Lunch!’</i> came out in August. Posthumous archival material would follow, but <i>‘Out to Lunch!’</i> stands as a capstone, a summation of everything the remarkable Dolphy was about during his short life. It helps to grasp the implications of the word “out” in the title: In jazz parlance, it connotes the left-of-center aesthetic of the avant-garde. “This is not music to roller skate by,” as A.B. Spellman wrote in the liner note. “It is the kind of muscularly individualistic stuff that will not tolerate indifference….” Indeed, Dolphy’s jagged melodic themes; his pungent delivery on alto sax, bass clarinet, and flute; his ambiguous tonalities and textures (brought out by Bobby Hutcherson on vibe, rather than a pianist); the unconventional rhythmic flow of bassist Richard Davis and drummer Tony Williams: These elements placed Dolphy in a league with Blue Note’s more experimental artists of the time—including pianist Andrew Hill, who recorded his classic <i>Point of Departure</i> almost exactly one month after <i>‘Out to Lunch!’</i> (and chose Dolphy, Davi, and Williams for his band). The 19-year-old William, already a sensation with Miles Davis’ great quintet, recorded his highly abstract Blue Note debut, <i>Life Time</i>, the same month that <i>‘Out to Lunch!’</i> was released. Trumpeter Freddie Hubbard, who had played on Dolphy’s <i>Outward Bound</i> back in 1960, solos adventurously on <i>‘Out to Lunch!’</i> but also enhances the structural rigor of Dolphy’s writing, bringing out harmonized parts and inner voices with tremendous clarity. For all its rough sandpaper edge, Dolphy’s music was highly meticulou, drawing on classical music as an influence. “Gazzelloni,” the album’s only flute feature, is named for the renowned Italian flutist. There are exquisite chamber-like moments in “Something Sweet, Something Tender”—the unison of bass clarinet and bowed bass in the final minute, for instance. .

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The Clerk says

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