New Dolphy release on Resonance

[Scott Dolan]

10 hours ago, jcam_44 said:

The CD is limited? Where is the #? Or are you talking Vinyl 

Oops!!! 

I think you are correct. 

[chewy-chew-chew-bean-benitez]

so this set is more material from "iron man" date, that james newton had a copy of?  kind of amazing theres still stuff being released like this!

 

Edited February 2, 2019 by chewy-chew-chew-bean-benitez

[Rooster_Ties]

Just ordered my copy last night from The Bastards, and really looking forward to it. Had Iron Man on yesterday morning as I got ready for work, and it brings back some fond memories of my earliest jazz listening. I think that very CD I played yesterday is one of the first 20 CD's I ever owned. I remember finding it (used) in Columbia, Missouri where the college choir I was in was in some sort of competition, iirc.

I can't remember 100%, but I don't think I yet owned Out to Lunch yet even.

I *do* remember recognizing the name Alan Douglas immediately (in the store, before I even paid for it), as I was a HUGE Hendrix nut my last 2 years in high school.

Anyway, it's a about time this material got reissued in some sort of quality way. I never got around to picking up Conversations all these years, though I've heard it a couple dozen times online. So I've got that material to get into too.  (I have had Ofher Aspects, though, a good 15+ years.)

Edited May 12, 2021 by Rooster_Ties

[JSngry]

Popped it into the car this AM. Almost had to stop driving when hearing "Music Matador" for the first time in probably at least 10 years or more. That shit is LOL crackup music, I love it.

Has anybody noted the similarity between Dolphy's more extreme bass clarinet sonics and Alber Ayler's use of tenor same? I've been hearing it for years but just really noticed it for the first time today.

[Scott Dolan]

Music Matador is one of the most genius compositions of all time. 

I can’t say I’ve ever noted the similarities between Dolphy and Ayler in that regard, but I’ll certainly be listening for it now. Got my copy in the mail, and will be playing here in just a moment. 

[Scott Dolan]

Wow. A rather embarrassing admission: I’d never heard Richard Davis quoting Frosty The Snowman in his bass solo on Music Matador...

[mikeweil]

On 30.1.2019 at 7:35 PM, Scott Dolan said:

Have to admit that the packaging of this is so stunning that I broke down and ordered a copy. Should be here Friday. 

I'm a sucker. 

I wonder how many are left. A buddy of mine got one last week that was numbered in the upper 1900's, and it's a limited release of only 3000 from what I've read. 

Same here. Reading this is a limited edition made me give in.

[Scott Dolan]

1 hour ago, mikeweil said:

Same here. Reading this is a limited edition made me give in.

I was partially correct. The LP release is the one limited to 3000. 

[mikeweil]

I thought so - but I think I'd kick myself in case I'd missed it. 

[Scott Dolan]

17 hours ago, mikeweil said:

I thought so - but I think I'd kick myself in case I'd missed it. 

Agreed. Especially now that I’ve heard it. The outtakes are just as stunning as the original releases. 

[Larry Kart]

On 7/1/2018 at 2:48 PM, sgcim said:

I just got done listening to 'The Complete Studio Recordings of the Chico Hamilton Quintet featuring Dolphy and Dennis Budimir', and it is absolutely astounding how Dolphy had mastered the mainstream idiom during this time period! They have him performing with an entire string section, and IMHO, he surpasses Bird, Stitt and Woods in his sound, inventiveness and technique during this period.

As Roland Kirk said,"You gotta master inside before you can go outside".

Am listening to the same set sgcim mentioned 'The Complete Studio Recordings of the Chico Hamilton Quintet featuring Dolphy and Dennis Budimir', Leaving aside the matter of who Dolphy surpasses here, I would say that he's just Dolphy already taking flight to a remarkable degree in 1958-9. As for how mainstream he was back then -- yes, he ticks a lot of mainstream-language boxes at times, but that IMO only serves to catapult him, like a man bouncing on a trampoline, into ... well, I wouldn't say outer space but into places where no one else had gone before him. And my sense is that it is those places where he wanted and needed to go. In particular, I think that the remaining presence of the inside strain in these performances essentially served to fuel the strength and add to the distance of Dolphy's more or less eruptive leaps away from it. In any case, those leaps here are, as sgcim says, astounding and full of joy, too.

[danasgoodstuff]

2 hours ago, Larry Kart said:

Am listening to the same set sgcim mentioned 'The Complete Studio Recordings of the Chico Hamilton Quintet featuring Dolphy and Dennis Budimir', Leaving aside the matter of who Dolphy surpasses here, I would say that he's just Dolphy already taking flight to a remarkable degree in 1958-9. As for how mainstream he was back then -- yes, he ticks a lot of mainstream-language boxes at times, but that IMO only serves to catapult him, like a man bouncing on a trampoline, into ... well, I wouldn't say outer space but into places where no one else had gone before him. And my sense is that it is those places where he wanted and needed to go. In particular, I think that the remaining presence of the inside strain in these performances essentially served to fuel the strength and add to the distance of Dolphy's more or less eruptive leaps away from it. In any case, those leaps here are, as sgcim says, astounding and full of joy, too.

This, all of it.  It's part of why Dolphy's early demise was such a great loss:  he could take people with him to those places that Ornette was never going to get to come with him.  Trane did that too, to a degree, but Trane & Dolphy went to different places. by different routes, different modes of transportation, etc.  That, and he had places left to go too.

[sgcim]

17 hours ago, Larry Kart said:

Am listening to the same set sgcim mentioned 'The Complete Studio Recordings of the Chico Hamilton Quintet featuring Dolphy and Dennis Budimir', Leaving aside the matter of who Dolphy surpasses here, I would say that he's just Dolphy already taking flight to a remarkable degree in 1958-9. As for how mainstream he was back then -- yes, he ticks a lot of mainstream-language boxes at times, but that IMO only serves to catapult him, like a man bouncing on a trampoline, into ... well, I wouldn't say outer space but into places where no one else had gone before him. And my sense is that it is those places where he wanted and needed to go. In particular, I think that the remaining presence of the inside strain in these performances essentially served to fuel the strength and add to the distance of Dolphy's more or less eruptive leaps away from it. In any case, those leaps here are, as sgcim says, astounding and full of joy, too.

Yeah, I loved hearing him in situations like that! He was probably the most adventurous sideman in the history of the art. Whether it was his incredible flute performances on "Stolen Moments" (Blues and the Abstract Truth), and "Django" (from Jazz Abstractions), both of which featured Bill Evans(!) comping for him, or on clarinet(!) on "Warm Canto" (from The Quest), or his work on bass clarinet and alto in the Mingus group, his solos brought a new type of power and expression to the mainstream idiom that had never been attempted before.

As danasgoodstuff says above, his needless death in the 60s at such a young age was one of the worst tragedies jazz ever experienced. Eddie Costa's equally tragic death at about the same time period, was another major blow. I recently read he was hanging out at The Half Note with Ed Shaugnessy, listening to Al and Zoot, when he told ES he had to split to visit someone on the upper west side. Shaughnessy told him not to go, because there was a major storm outside, but EC said he had to meet this person.

This conflicts somewhat with the story that he went to some jam session up there. The story said that he was driving a VW Bug, and was crushed to death because of the unusual way the car landed. He died immediately.

[AllenLowe]

On 12/17/2020 at 4:54 PM, sgcim said:

Yeah, I loved hearing him in situations like that! He was probably the most adventurous sideman in the history of the art. Whether it was his incredible flute performances on "Stolen Moments" (Blues and the Abstract Truth), and "Django" (from Jazz Abstractions), both of which featured Bill Evans(!) comping for him, or on clarinet(!) on "Warm Canto" (from The Quest), or his work on bass clarinet and alto in the Mingus group, his solos brought a new type of power and expression to the mainstream idiom that had never been attempted before.

As danasgoodstuff says above, his needless death in the 60s at such a young age was one of the worst tragedies jazz ever experienced. Eddie Costa's equally tragic death at about the same time period, was another major blow. I recently read he was hanging out at The Half Note with Ed Shaugnessy, listening to Al and Zoot, when he told ES he had to split to visit someone on the upper west side. Shaughnessy told him not to go, because there was a major storm outside, but EC said he had to meet this person.

This conflicts somewhat with the story that he went to some jam session up there. The story said that he was driving a VW Bug, and was crushed to death because of the unusual way the car landed. He died immediately.

I am pretty sure he died because he was driving drunk.

[felser]

On 12/17/2020 at 0:50 AM, danasgoodstuff said:

Trane & Dolphy went to different places. by different routes, different modes of transportation, etc. 

Strongly agree.  As great as each were, I never thought they were a particularly good match on those 1961 recordings. 

[danasgoodstuff]

15 minutes ago, felser said:

Strongly agree.  As great as each were, I never thought they were a particularly good match on those 1961 recordings. 

I think they could be an effective contrast, but they certainly weren't two peas in a pod - none of the name jazz advance guard of that period were, much less stylistic homogeneity than previously, so much so it hardly even seems like a style sometimes, but then the 2nd generation/2nd string made it one - this more or less happens all the time, but more here?  Just thinking out loud now, not trying to be definitive.

[Rooster_Ties]

Spinning the Iron Man disc from this set currently, and probably gonna spin all the rest before the afternoon is over.  I'd almost forgotten how much I adore Iron Man -- not literally, but I think it's been close to 2 years since I've heard it, and I had sorta (slightly) forgotten just how utterly fantastic it is.

I should really dig out my Dolphy Prestige box next, which -- confession time -- I haven't spent enough time with over the years, and a few of the sessions I don't think I've spun more than 2-3 times since I got it.  Not for lack of loving Dolphy, but I tend to reach for my favorites too often, and not the stuff I don't know as well.

[romualdo]

On 12/05/2021 at 1:56 AM, Rooster_Ties said:

I should really dig out my Dolphy Prestige box next, which -- confession time -- I haven't spent enough time with over the years, and a few of the sessions I don't think I've spun more than 2-3 times since I got it.  Not for lack of loving Dolphy, but I tend to reach for my favorites too often, and not the stuff I don't know as well.

Some of my favourite jazz recordings come from the Dolphy box ie the complete Five Spot recordings - what a lineup (Little/Dolphy/Waldron/Davis/Blackwell)

[Late]

13 hours ago, romualdo said:

Some of my favourite jazz recordings come from the Dolphy ... Five Spot recordings - what a lineup (Little/Dolphy/Waldron/Davis/Blackwell).

Same. I used to play "Fire Waltz" on repeat my senior year in college until the neighbors upstairs (politely) asked me to stop.