Outward Bound

it still sounds fresh to me. Eric Dolphy's death was really a great loss to jazz. I'm mesmerized by his playing on either saxophone, flute or bass clarinet.

Great music, but the disc was a CD-r, and it took three different CD players to to get it to play :(

Eric Dolphy is one of this countries least appreciated genius, and his music and performances continue to awe and inspire. Mastering alto sax is a job in itself, but to add clarinet and flute to his arsenal is quite an accomplishment. Eric Dolphy has to be heard to be "understood". Words simply won't do.

Awesome record

Happy hour's with Eric Dolphy and friendsYou will keep on smiling all day

Due to the sad circumstances of his early death, a sort of earnest gravity always seems to surround the work of Eric Dolphy, or discussions of it anyway. That makes this album--along with Dolphy's many musical "conversations" with Charles Mingus--a welcome reminder of how witty and sly Dolphy could be. Fittingly, the music here was recorded on April Fool's Day in 1960, with another musical comedian (and Mingus veteran), Jaki Byard, proving a superb prankster-at-arms. The music here joyfully sends up everything from the "new thing" of Ornette Coleman to the stately seriousness of the Miles Davis Quintet. The band here even does a humourous deconstruction of the Davis group's beloved "On Green Dolphin Street." The Coleman-like Dolphy originals like "Les" and "G.W." will get your feet moving and erase any idea that "avant garde" has to mean "self-important". Throughout, drummer Roy Haynes is his usual, tasteful self, and only trumpet player Freddie Hubbard doesn't seem to be entirely in on the joke, playing with an earnestness that makes the rest of the proceedings all the funnier. Outward Bound is a joyous record that takes all the jazz styles then current and takes them for a ride.

Eric Dolphy is always grouped with Free Jazz and to a huge degree it makes sense. He played on Ornette Coleman's album of the same name in 1960. His solos were also pretty "out" as jazz heads term dissonant playingBut Dolphy died in 1964, and it was not until 1965 that John Coltrane released  Ascension . This is vital to know, because that album made free jazz far louder, and acidic. If Coleman's  Free Jazz  was a hot coffee, Ascension was napalm.Dolphy most likely would have been in Coltrane's fire bomb had he lived, but he missed the big change in the jazz avant gaurd.But we have Outward Bound: this is not free jazz, although it absolutely sticks more than a foot in that door. The truth is, Dolphy loved chords and what could be played both with and against them.If you listen to Outward Bound, it is really not the music that is free .Most of the tracks are twisted hard bop: great compositions with loopy chord substitutions that pressed the band into thinking on their toes. These have an almost classical grandness.What goes on top is what is "out": Dolphy and his players solo anyway they want. What Dolphy in particular plays goes contrary to the grain of the chords, but it always works. His angular solos provide fresh pepper to what, in some respects, is pretty traditional musicFree jazz was not yet totally free when Outward Bound was made, but it sure is amazing listening to the album pushing jazz a few leaps more out there.

Multi-reedsman Eric Dolphy literally played it relatively safe on OUTWARD BOUND, his 1960 debut album, crafting more of a particularly explosive - and sometimes very humorous - hard bop set than anything predictive of his later avant-garde efforts. That, along with the first-rate lineup of trumpeter Freddie Hubbard, pianist Jaki Byard, bassist George Tucker and veteran bebop trapsman Roy Haynes, helps to make this dynamic and inventive mix of original and covered material as perfect an introduction to Dolphy for the contemporary listener as it was for the jazz world as a whole nearly half a century ago. Jumping right in with the slippery, blistering "GW," this date wastes no time in announcing the arrival of a uniquely capable and individual alto saxophonist, whose gifts are promptly put into even bolder perspective by his effortless switch to the haunting bass clarinet for a witty, almost vocalized rendition of the oft-visited "On Green Dolphin Street." "Les" and "245" are both Dolphy originals featuring more of his molten sax work with fine accompaniment from all aboard. Things slow down and sweeten up on "Glad to Be Unhappy," with Dolphy offering a heart-wrenchingly beautiful flute performance while Hubbard lays out. Back to bass clarinet for the closing "Miss Toni," an upbeat bopper which sounds almost traditional after the more mercurial preceding numbers. This upgraded CD reissue adds three bonus cuts - the flash-fingered flute workout "April Fool" and lengthier alternate takes of "GW" and "245." All are well worth hearing and add greatly to the pleasures of this inspired and fruitful session. Dolphy's life and career were, alas, to be tragically truncated barely four years after OUTWARD BOUND set him in flight; but the energy and enthusiasm so present in this classic recording are in no way compromised by the sad fate of its creator. A must for any jazz fan, completist or casual.

Esta es una revisión del formato "CD de audio" del producto que recibí, no del contenido del álbum en sí, que es espectacular.El cedé, que recibí, es una copia grabada en soporte CD-R. Tiene notas del forro y portada reproducidas con una especie de impresora térmica, que da la impresión de ser auténtico. Sin embargo, después de informar a Amazon, busqué en Internet y encontré muchas discusiones sobre el permiso del editor, para vender copias en CD-R de álbumes agotados y de venta lenta. Pero NO HAY INDICACIÓN de esto en la descripción del producto. Por lo tanto, no tuve la forma de saber si el cedé que iba a recibir sería un original de alta calidad o una copia de menor calidad. Evidentemente, no quiero comprar este último, aunque sea más barato. Pues los cedés grabados en CD-R, en comparación con los discos compactos prensados ​​de fábrica, se estropean y no duran lo mismo que un disco compacto copiado en estudio.

Pressung okay und Musik ist gut und macht Laune nach mehr.

内容にも、満足しています。ジャズ５００選で見て、長い間探してました。満足してます。

ｴﾘｯｸ・ﾄﾞﾙﾌｨｰ最高！と、最近はまっているが、最高傑作はやはり「Out to Lunch」で、それはﾄﾞﾙﾌｨｰのみならず他の面子全てが凄い・・・というより、音楽全体が神の領域だからだ。無論「〜Five Spot」も大好き。そもそもﾌﾞｯｶｰ・ﾘﾄﾙも大好きなのだ。あのﾄﾞｽ黒いｳﾈﾘがたまらない。それで、本作は、ﾘｰﾀﾞｰﾃﾞﾋﾞｭｰ作？この時点で、すでに彼の音色もｽﾀｲﾘｯｼｭなﾌﾚｰｽﾞも完成していて、1曲目から猛炸裂。しかし、全体の楽曲ｽﾀｲﾙは、（彼にしては）比較的ｵｰｿﾄﾞｯｸｽなｼﾞｬｽﾞで、大変に聴きやすい、無論いい意味で。だから、ﾄﾞﾙﾌｨｰ入門盤には最適だったろうか。でも、参加ﾒﾝﾊﾞｰも凄いなあ。後に共演するﾌﾚﾃﾞｨ・ﾊﾊﾞｰﾄﾞが、ここでは素直にﾊｰﾄﾞﾊﾞｯﾌﾟしている伸びやかなﾌﾟﾚｲ。ﾍﾞｰｽはﾎﾚｽ・ﾊﾟｰﾗﾝﾄﾘｵで地が震えるようなﾌﾟﾚｲが印象的な、ｼﾞｮｰｼﾞ・ﾀｯｶｰが、ﾐﾝｶﾞｽのｱｸの強さにも負けない強靭さ。ﾋﾟｱﾉはﾐﾝｶﾞｽ楽団の人？豪華布陣ですね。何といっても大好きなﾛｲ・ﾍｲﾝｽﾞは、ﾌﾞｯｶｰ・ﾘﾄﾙとも演っているつながり？重量感も軽妙さも自由自在の流石のﾄﾞﾗﾐﾝｸﾞでｽﾈｱの炸裂感が最高。楽曲も粒ぞろいで、ﾉﾘが良く、ｸﾞｲｸﾞｲ喰い込むような「G.W.」、「Les」、ﾘｽﾞﾑの面白さが胆の「On Green Dolphin Street」、黒々とうねり咆哮する「245」、魔笛のしらべという趣の「Glad to Be Unhappy」、ﾊｰﾄﾞﾊﾞｯﾌﾟ的な爽快さを残す「Miss Toni」等々。短い曲が多いのも、聴きやすくて良い。あと、これ元々Prestige盤だけど、ﾙﾃﾞｨ・ｳﾞｧﾝ・ｹﾞﾙﾀﾞｰ録音で、本人ﾘﾏｽﾀｰなのも、ﾎﾟｲﾝﾄ高し。ﾌﾞﾙｰﾉｰﾄｻｳﾝﾄﾞほど中低音が利いてないかもしれないが、非常にｸﾘｱでｷﾚのあるｻｳﾝﾄﾞだ。ｼﾞｬｹがいまいちｽﾀｲﾘｯｼｭじゃないとこ以外は完璧。