01 Jitterbug Waltz
02 Music Matador
03 Alone Together
04 Come Sunday
05 Ode to C.P.
06 Love Me		play

Musicians:
Eric Dolphy (alto saxophone, flute, bass clarinet) 
Clifford Jordan (soprano saxophone) 
Huey Simmons (alto saxophone) 
Woody Shaw Jr. (trumpet) 
Prince Lasha (flute) 
Bobby Hutcherson (vibraphone) 
Richard Davis, Eddie Kahn (bass) 
J.C. Moses, Charles Moffet (drums).

In the spring of 1963, in the last full year of his life, Eric Dolphy recorded nine tracks in New York with producer Alan Douglas. Working with an ensemble that was mixed and matched in different configurations and included Prince Lasha on flute, Clifford Jordan on soprano sax, Woody Shaw on trumpet, Huey Simmons on alto sax, Bobby Hutcherson on vibraphone (there was no pianist at the sessions), bassists Richard Davis and Eddie Kahn, and drummers J.C. Moses and Charles Moffett, Dolphy tracked material that clearly anticipated his landmark Out to Lunch album that appeared in 1964 while still providing a bridge to the more traditionally accessible work that preceded it. Dolphy delivered some of the best and most striking work of his career, whether offering full-band treatments of originals like "Iron Man" and "Burning Spear"; giving a loose and lilting calypso feel to "Music Matador"; turning Fats Waller's "Jitterbug Waltz" upside down and sideways; or playing wonderful lines on flute, bass clarinet, and alto saxophone. The sessions were split up and originally issued as a pair of LPs, Conversations and Iron Man, and have been reissued in different configurations and under different titles many times since. The complete sessions are available on CD as the double-disc Dolphy Sound from Jazz World, and that's ultimately the way to go, although this set holds up quite well as a sequence. The bottom line is that no Dolphy fan should be without the material recorded at these 1963 New York sessions. The music is brilliant no matter whether it's presented in part or in whole, but once you hear it, you'll want it all. --- Steve Leggett. AMG

The sessions on this CD were recorded by producer Alan Douglas in the spring of 1963. Eric died in 6/29/64. So this is mature Eric, and in my opinion, as good as he ever played. His solo on "Alone Together" sends chills up my spine every time I hear it, and is reason enough to get this recording. This is a duet with bassist Richard Davis. Another equally stirring duet with Richard is "Come Sunday." Another highlight is a searing alto solo by Eric on "Love Me." The other numbers are played by various groupings including jazz greats Woody Shaw, Clifford Jordan, Prince Lasha, Sonny Simmons, Bobby Hutcherson, and more. This is great company. The CD I own is on the "Le Jazz" label. These sessions have been released under various labels and various titles. Additional selections from these sessions have appeared on CDs titled "Conversations" and "Iron Man." Some repeat titles on this CD, others have titles not included on this CD. You may find these recordings in the bargain bin, or for sale for exorbitant amounts on the internet. They may be worth any price. I have read that the sound quality on these recordings is less than good. I have not found this to be the case. Get any of these titles, and you won't be disappointed by the sound or music. While I'm at it, let me name my selection of the best 3 solos by Eric. By definition, they would also be among the best solos in jazz history: 1) "Alone Together" in this session. 2)"Round Midnight" on George Russel's "Ezzthetic" and 3)"All the Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother" on Charles Mingus' "Charles Mingus Presents Charles Mingus." These are a few of my favorite things. ---amazon.com

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1. Hat and Beard - 8:22 
2. Something Sweet, Something Tender - 6:00 
3. Gazzelloni - 7:18 
4. Out to Lunch - 12:05 
5. Straight Up and Down - 8:19

    Eric Dolphy – bass clarinet (1 & 2), flute (3), alto saxophone (4 & 5)
    Freddie Hubbard – trumpet
    Bobby Hutcherson – vibraphone
    Richard Davis – bass
    Tony Williams – drums

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. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy 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 Dolphy 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, Dolphy'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 Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes. --- Steve Huey, Rovi

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1. Iron Man
2. Mandrake
3. Come Sunday
4. Burning Spear
5. Ode to C.P.

Personnel: 
Eric Dolphy (alto saxophone, flute, bass clarinet); 
Clifford Jordan (soprano saxophone); 
Huey Simmons (alto saxophone); 
Woody Shaw (trumpet); 
Prince Lasha (flute); 
Bobby Hutcherson (vibraphone); 
Richard Davis, Eddie Kahn (bass); 
J.C. Moses (drums)

The companion piece to Conversations (recorded at the same mid-1963 sessions with producer Alan Douglas), Iron Man is every bit as essential and strikes a more consistent ambience than its widely varied twin. It also more clearly anticipates the detailed, abstract sound paintings of Dolphy's masterwork Out to Lunch, in large part because this time around the program is weighted toward Dolphy originals. "Iron Man," "Burning Spear," and the shorter "Mandrake" all have pretty outside themes, full of Dolphy's trademark wide interval leaps and playful sense of dissonance. Yet there's enough structure and swing to make their roots in hard bop perfectly clear, and once the front-line horns blast out the themes, the ensemble shifts into a more cerebral, exploratory mode. In the absence of a piano, Bobby Hutcherson's vibes are a crucial anchor, outlining dissonant harmonies that hang in the air almost spectrally behind the rest of the group. Most of the same musicians from Conversations appear here, including trumpeter Woody Shaw, flutist Prince Lasha, altoist Sonny Simmons, and soprano sax player Clifford Jordan. And once again, Dolphy duets with bassist Richard Davis, twice this time -- on bass clarinet for Ellington's "Come Sunday" and on flute for Jaki Byard's "Ode to C.P." Both are lovely, meditative pieces filled with conversational exchanges between the two players, illustrating what similar wavelengths they were on. Between Conversations and Iron Man, split up the way they are, one has to give a slight edge to the latter for its more cohesive presentation, yet these are classic sessions in any form and constitute some of the most brilliant work of the early-'60s avant-garde. ---Steve Huey, Rovi

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