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Out to Lunch!
Out to Lunch! in Bloomington, MN
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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
's odd time signatures, wide-interval leaps, and flirtations with
atonality
. And those preoccupations reach their peak on
, which is less rooted in
bop
tradition than anything
had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes.
uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter
Freddie Hubbard
, vibist
Bobby Hutcherson
, bassist
Richard Davis
, and drummer
Tony Williams
-- takes full advantage of the freedom
offers, but special mention has to be made of
Hutcherson
, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile,
's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title
suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes. ~ Steve Huey
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
's odd time signatures, wide-interval leaps, and flirtations with
atonality
. And those preoccupations reach their peak on
, which is less rooted in
bop
tradition than anything
had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes.
uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter
Freddie Hubbard
, vibist
Bobby Hutcherson
, bassist
Richard Davis
, and drummer
Tony Williams
-- takes full advantage of the freedom
offers, but special mention has to be made of
Hutcherson
, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile,
's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title
suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes. ~ Steve Huey
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