This release presents, for the first time ever on a single set, all of the music recorded by the Eric Dolphy Quartet in Denmark on September 6 & 8, 1961, which originally appeared on three separate LPs: Eric Dolphy in Europe Vols. 1 to 3. Further versions of “Laura (unaccompanied) and “When Lights Are Low” as well as a short take on Thelonious Monk’s “52nd Street Theme”, recorded a few days earlier in Sweden, have been added here as a bonus.
Features 24 bit remastering and comes with a mini-description. Quite possibly the best album to feature the talents of Chico Hamilton and Eric Dolphy – a set recorded at a time when Dolphy was an up-and-coming player on the west coast scene! Although Chico Hamilton had recorded with unusual reed players before, Dolphy brings a depth of soul and spirit to this album that's missing from a lot of Chico's earlier work at the time – a style that still holds onto some of the measured qualities of the Pacific Jazz work by the Hamilton group, yet which also opens up into some of the darker corners that Dolphy would explore more on his own recordings of the 60s.
Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions — 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3 and also released on Hybrid SACD. All mastered from the original analog master tapes by mastering maestro Kevin Gray.
'Out to Lunch' stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era.
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Includes an alternate take of "Hat and Beard" and a track for the first time in the world. Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals – the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" – were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom.
Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals - the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" - were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done…