![]() ![]() ![]() It basically sounds like it is from another planet. This is basically the top of the heap as far as Eric Dolphy albums are concerned, and arguably the best example of avant-garde jazz. Whether you’re a jazz theory expert, or a casual listener, his music will speak to you nearly the same. While I could go on and on discussing his playing style and some of his unique ideas, it’s the music that speaks it the best. For example, he may arpeggiate a minor chord to correspond with the rhythm section playing a major. Though he did not disregard chordal improvisation as some of his contemporaries (e.g., Ornette Coleman) had, his idea of chordal improvisation is quite distant from that of the beboppers. His joyful, humorous playing style is undeniably Dolphy. His voice on any instrument calls out loud and clear. This multi-instrumentalist, whose main instrument could either be called alto saxophone or bass clarinet, depending on who you ask, was one of the forerunners in the world of avant-garde jazz. Whether a fan of avant-garde and free jazz, or on the side of the naysayers that were so common in the 1960s, it’s pretty much universally accepted that the contribution that Eric Dolphy made to jazz music were and are incredibly important. Little did anyone know at the time, that little Eric would grow up to be one of the most controversial figures in jazz. Eric Dolphy, a California native, was born in 1928.
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