Musical Prophet - The Expanded 1963 New York Studio Sessions Eric Dolphy
- 1Jitterbug Waltz07:16
- 2Music Matador09:38
- 3Love Me03:19
- 4Flying Colors: Flying Colors: Alone Together13:19
- 5Muses for Richard Davis (previously unissued 1)07:34
- 6Muses for Richard Davis (previously unissued 2)08:21
- 7Iron Man09:11
- 9Black, Brown and Beige: Come Sunday06:28
- 10Burning Spear11:59
- 11Ode to Charlie Parker08:05
- 12A Personal Statement14:59
- 13Music Matador: Music Matador (alternative take)07:56
- 14Love Me: Love Me (alternative take 1)02:21
- 15Love Me: Love Me (alternative take 2)03:40
- 16Flying Colors: Flying Colors: Alone Together (alternative take)12:15
- 17Jitterbug Waltz: Jitterbug Waltz (alternative take)09:23
- 18Mandrake: Mandrake (alternative take)06:40
- 19Burning Spear: Burning Spear (alternative take)10:33
Info for Musical Prophet - The Expanded 1963 New York Studio Sessions
Musical Prophet: The Expanded 1963 New York Studio Sessions is the first official release of previously-unissued Eric Dolphy studio recordings in over 30 years! This release contains the masterpiece albums Conversations and Iron Man recorded in NYC in July, 1963.
Captured after leaving Prestige/New Jazz Records, and just before recording the timeless classic Out to Lunch! album, Musical Prophet is a triple-album set that contains the under-appreciated masterpieces Conversations and Iron Man recorded in New York City on July 1 and 3, 1963. Originally produced by Alan Douglas — most well-known for his association with Jimi Hendrix, but who also produced classic jazz albums such as Money Jungle with Duke Ellington, Charles Mingus and Max Roach — the tapes had been stored in a suitcase with Dolphy’s personal belongings and given to Dolphy’s close friends Hale and Juanita Smith just before he embarked on his fateful European trip in 1964. Years later the contents of the suitcase were given to flutist/educator James Newton, who had developed a close relationship with his mentor Hale Smith and Hale’s wife Juanita in the late 1970s. Then in 2015, Newton connected with Zev Feldman at Resonance and they began working in conjunction with the Eric Dolphy Trust in Los Angeles on this definitive edition of Dolphy’s 1963 New York studio sessions. These tapes were recorded in mono, unlike the stereo versions that were used for the original studio albums and are the only known master sources in existence.
"In sessions recorded less than a year before his untimely death, the multi-instrumental marvel explored every aspect of his boundary-pushing art" (Hank Shteamer, Rolling Stone)
"The saxophonist, flutist and bass clarinetist Eric Dolphy led just five studio sessions in his brief lifetime, yet he’s seen as one of jazz history’s great possibility-expanders..." (Giovanni Russonello, New York Times)
"Given that Dolphy is an artist whose reputation is much larger than his catalogue of mature works, these unearthed tracks are an important find." (JazzTimes)
"...these newly excavated recordings show the exploratory vigor and versatility of the jazz revolutionary." (Pitchfork)
Eric Dolphy, alto saxophone, flute, bass clarinet
William "Prince" Lasha, flute
Huey "Sonny" Simmons, alto saxophone
Clifford Jordan, soprano saxophone
Woody Shaw, trumpet
Garvin Bushell, bassoon
Bobby Hutherson, vibes
Richard Davis, bass
Eddie Kahn, bass
J.C. Moses, mdrums
Charles Moffett, drums
was a true original with his own distinctive styles on alto, flute, and bass clarinet. His music fell into the "avant-garde" category yet he did not discard chordal improvisation altogether (although the relationship of his notes to the chords was often pretty abstract). While most of the other "free jazz" players sounded very serious in their playing, Dolphy's solos often came across as ecstatic and exuberant. His improvisations utilized very wide intervals, a variety of nonmusical speechlike sounds, and its own logic. Although the alto was his main axe, Dolphy was the first flutist to move beyond bop (influencing James Newton) and he largely introduced the bass clarinet to jazz as a solo instrument. He was also one of the first (after Coleman Hawkins) to record unaccompanied horn solos, preceding Anthony Braxton by five years.
Eric Dolphy first recorded while with Roy Porter & His Orchestra (1948-1950) in Los Angeles, he was in the Army for two years, and he then played in obscurity in L.A. until he joined the Chico Hamilton Quintet in 1958. In 1959 he settled in New York and was soon a member of the Charles Mingus Quartet. By 1960 Dolphy was recording regularly as a leader for Prestige and gaining attention for his work with Mingus, but throughout his short career he had difficulty gaining steady work due to his very advanced style. Dolphy recorded quite a bit during 1960-1961, including three albums cut at the Five Spot while with trumpeter Booker Little, Free Jazz with Ornette Coleman, sessions with Max Roach, and some European dates.
Late in 1961 Dolphy was part of the John Coltrane Quintet; their engagement at the Village Vanguard caused conservative critics to try to smear them as playing "anti-jazz" due to the lengthy and very free solos. During 1962-1963 Dolphy played third stream music with Gunther Schuller and Orchestra U.S.A., and gigged all too rarely with his own group. In 1964 he recorded his classic Out to Lunch for Blue Note and traveled to Europe with the Charles Mingus Sextet (which was arguably the bassist's most exciting band, as shown on The Great Concert of Charles Mingus). After he chose to stay in Europe, Dolphy had a few gigs but then died suddenly from a diabetic coma at the age of 36, a major loss.
Virtually all of Eric Dolphy's recordings are in print, including a nine-CD box set of all of his Prestige sessions. In addition, Dolphy can be seen on film with John Coltrane (included on The Coltrane Legacy) and with Mingus from 1964 on a video released by Shanachie. (Scott Yanow)