Eric Dolphy • Out There

 

Review by Michael G. Nastos  
The follow-up album to Outward Bound, Eric Dolphy's second effort for the Prestige/New Jazz label (and later remastered by Rudy Van Gelder) was equally praised and vilified for many reasons. At a time when the "anti-jazz" tag was being tossed around, Dolphy's nonlinear, harshly harmonic music gave some critics grist for the grinding mill. A second or third listen to Dolphy's music reveals an unrepentant shadowy side, but also depth and purpose that were unprecedented and remain singularly unique. The usage of bassist George Duvivier and cellist Ron Carter (an idea borrowed from Dolphy's days with Chico Hamilton) gives the music its overcast color base, in many ways equally stunning and uninviting. Dolphy's ideas must be fully embraced, taken to heart, and accepted before listening. The music reveals the depth of his thought processes while also expressing his bare-bones sensitive and kind nature. The bluesy "Serene," led by Carter alongside Dolphy's bass clarinet, and the wondrous ballad "Sketch of Melba" provide the sweetest moments, the latter tune identified by the fluttery introspective flute of the leader, clearly indicating where latter-period musicians like James Newton initially heard what would form their concept. Three pieces owe alms to Charles Mingus: his dark, moody, doleful, melodic, and reluctant composition "Eclipse"; the co-written (with Dolphy) craggy and scattered title track featuring Dolphy's emblematic alto held together by the unflappable swing of drummer Roy Haynes; and "The Baron," the leader's dark and dirty, wise and willful tribute to his former boss, accented by a choppy and chatty solo from Carter. "17 West," almost a post-bop standard, is briefly tonal with a patented flute solo and questioning cello inserts, while the unexpected closer written by Hale Smith, "Feathers," is a haunting, soulful ballad of regret where Dolphy's alto is more immediately heard in the foreground. A somber and unusual album by the standards of any style of music, Out There explores Dolphy's vision in approaching the concept of tonality in a way few others -- before, concurrent, or after -- have ever envisioned.
https://www.allmusic.com/album/out-there-mw0002571715

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Reseña de Michael G. Nastos  
La continuación de Outward Bound, el segundo trabajo de Eric Dolphy para el sello Prestige/New Jazz (y posteriormente remasterizado por Rudy Van Gelder) fue alabado y vilipendiado a partes iguales por muchas razones. En una época en la que se lanzaba la etiqueta de "antijazz", la música no lineal y duramente armónica de Dolphy proporcionó a algunos críticos materia para el molino. Una segunda o tercera escucha de la música de Dolphy revela un lado sombrío impenitente, pero también una profundidad y un propósito que no tenían precedentes y siguen siendo singularmente únicos. El uso del bajista George Duvivier y del violonchelista Ron Carter (una idea tomada de los días de Dolphy con Chico Hamilton) da a la música su base de color nublado, en muchos sentidos igualmente impresionante y poco atractivo. Las ideas de Dolphy deben ser totalmente asumidas, tomadas en serio y aceptadas antes de escucharlas. La música revela la profundidad de sus procesos de pensamiento a la vez que expresa su naturaleza sensible y amable. El blues "Serene", dirigido por Carter junto al clarinete bajo de Dolphy, y la maravillosa balada "Sketch of Melba" proporcionan los momentos más dulces, esta última melodía identificada por la aleteante flauta introspectiva del líder, indicando claramente dónde músicos de la última época como James Newton escucharon inicialmente lo que formaría su concepto. Tres piezas deben una limosna a Charles Mingus: su oscura, malhumorada, lúgubre, melódica y reticente composición "Eclipse"; el escarpado y disperso tema que da título al disco, escrito conjuntamente con Dolphy, con el emblemático contralto de Dolphy sostenido por el imperturbable swing del batería Roy Haynes; y "The Baron", el oscuro y sucio, sabio y voluntarioso homenaje del líder a su antiguo jefe, acentuado por un solo entrecortado y parlanchín de Carter. "17 West", casi un estándar post-bop, es brevemente tonal, con un solo de flauta patentado e inserciones de violonchelo cuestionadoras, mientras que el inesperado cierre escrito por Hale Smith, "Feathers", es una inquietante y conmovedora balada de arrepentimiento en la que el alto de Dolphy se escucha más inmediatamente en primer plano. Un álbum sombrío e inusual para los estándares de cualquier estilo de música, Out There explora la visión de Dolphy al abordar el concepto de tonalidad de una manera que pocos otros -antes, concurrentes o después- han imaginado.
https://www.allmusic.com/album/out-there-mw0002571715

Tracks:
1 - Out There  6:58
2 - Serene  7:04
3 - The Baron  2:58
4 - Eclipse  2:48
5 - 17 West  4:53
6 - Sketch Of Melba  4:42
7 - Feathers  5:02


Credits:
Alto Saxophone, Flute, Clarinet [B-flat], Bass Clarinet – Eric Dolphy
Bass – George Duvivier
Cello – Ron Carter
Drums – Roy Haynes

Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey
Recorded in Englewood Cliffs, NJ; August 16, 1960.
Engineer, Recorded By – Rudy Van Gelder

Genre:    Jazz
Style:    Free Jazz, Modal, Post Bop
Year:    1961
https://www.discogs.com/master/172694-Eric-Dolphy-Out-There

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