Dolphy Out To Lunch Rar
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Artist: Eric Dolphy Album: 'Out To Lunch!' Label: Blue Note Genre: Avant-Garde Jazz Year: 1964 Tracks: 01 Hat and Beard – 02 Something Sweet,.Out To Lunch (1964) no words. Listen.1964 Eric Dolphy (bass clarinet on 1 & 2, flute on 3 and alto sax on 4 & 5); Freddie Hubbard (trumpet); Bobby Hutcherson (vibraphone); Richard Davis (bass);.Love! Please do use 1080p for optimal quality.Hat and Beard Album: Out to Lunch! (1964) Written by: Eric Dolphy Personnel: Eric Dolphy — bass clarinet Freddie Hubbard — trumpet Bobby Hutcherson.
Keep in mind that that Dolphy's stuff as a leader is going to be more 'out' than his stuff as a side man and few jazz albums have the sense of being a cohesive album the way Out To Lunch does - you won't top it. I think Dolphy's best performance as a sideman is on Point of Departure by Andrew Hill. Out To Lunch kicks off with 'Hat and Beard', a tribute to the High Priest of Bop, Thelonious Monk. Instead of a pianist Dolphy employs Bobby.
And, as said before, it's too damn bad. Now, Out to Lunch is definitely the guy's best album, but I think the other stuff deserves a look, too. This in particular is a great, great release, and its greatness is just hitting me now. It's also pretty firmly avant-garde, probably Dolph's freest release. 'Burning Spear' pretty much clears up any doubts about that right away - it's pure chaos, but organized, fascinating chaos, a sort of bizarre take on bebop that I think all jazz fans should hear. That's actually the name of the game for about half this album - check out the powerful title track (no, not that Iron Man. Ozzy wasn't involved, as hilarious as that mix would be), with some weird atonal sax runs that are just so damn interesting, and the lovably quirky 'Mandrake.'
Out To Lunch Eric Dolphy
The ballads are pretty thoroughly out there, too. For one, neither of them has a piano.
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That's because there's no piano on this album, period. Which means that the conventional definition of harmony is pretty thoroughly eschewed. And their arrangements are so much different from conventional jazz arrangements, you couldn't be blamed for thinking that you were listening to a different album. 'Ode to C.P.,' recycled from Far Cry and in my mind largely improved upon here, is a fascinating bass-flute duet, while 'Come Sunday' is the oddest Ellington cover you'll ever hear. It doesn't even sound like Ellington anymore. Some might balk at that, but I don't know, I think it's pretty awesome.