Of all the musical genres of the twentieth century, jazz seems to be the one that has had the most labels affixed to it in an attempt to define what the musicians who played it were doing. Sometimes, as in the case of swing, the label described how the music moved, while at other times (big band, for example) it simply offered a description of the numbers involved in its production.
It wasn't until the mid-twentieth century and beyond that the labels became more nebulous and less descriptive. Bebop may have been in reference to the staccato beats of the soloists, but when the players started to move beyond even the confines of bebop into free improvisation, those obsessed with giving everything a specific name were at such a loss they gave in and called it "new jazz" for lack of another term.
One of the early innovators in the "new jazz" era was flautist, alto saxophone, and bass clarinet player Eric Dolphy. Dolphy flew under the radar of most of the jazz establishment at the beginning of his career as it started on the West coast of the United States in Los Angeles. It wasn't until a 1958 tour brought him to New York City that he established himself on the East coast.
He quickly became a major player by landing a place in Charlie Mingus' band. Dolphy would continue to record with Mingus for the rest of his life and Mingus considered him one of the most talented interpreters of his compositions.
The other major player whom Dolphy made contact with was John Coltrane. While the two men only recorded together for less than a year, they managed to produce some of the most challenging jazz music recorded to date (Down Beat magazine referred to it as anti-jazz). Their label could never really figure out what to do with the tracks they recorded and it took until 1997, thirty–two years later, for Vanguard to release the tracks in a box set called The Complete 1961 Village Vanguard Recordings.
But it wasn't as a sideman or through interpreting other people's music that Dolphy made his name. It was working his own magic with his own bands that has ensured his legacy as one of the great improvisers and innovators of Jazz. In 1960 he began to create that legacy with the recording Outward Bound. Although still primarily a bebop album he made enough of a step away from it for his label to give the recording the name we now know it by.
It was obvious to them even then that he was heading in a new direction and they were welcome to come along for the ride if they so chose. They may not have completely understood what he was doing, but their choice of title singled their acquiescence to his decisions. Over the next four years he would release some twenty-plus discs on which he was principle player/ bandleader.
Article comments
1 - Vern Halen
Dolphy's Out to Lunch is essential listening - not easy to assimilate at first, but it makes more sense on repeated listenings.
Dolphy, Coltrane, Cecil Taylor, Ornette Coleman, and their associates - a great time for the avant guard in the early 60's.
2 - Wilson
For those willing to take the time and listen-Dolphy is one of the masters. Given the status of avant garde, many assume(and we know what that does)its all random notes played at accelerated speed.Actually, as in the case of folks like Trane and more recently, David Murray(how can a "jazz expert" listen to Murray and not sense the history of jazz sax in his playing, ala Coleman Hawkins,Sonny Rollins,Ben Webster.)Dolphy has it all-a sense of history,great emotion, and wonderful chops. Give it a try-you might be surprised.