Moods In Free Time is from the album Out Front by Booker Little, recorded in New York, spring 1961, and first released on Candid ame year.
Booker Little was the first trumpet soloist to emerge in jazz after the death of Clifford Brown to have his own sound. His tragically brief life (he died at age 23 later in 1961) cut short what would have certainly been a major career. Little, on this sextet date with multi-reedist Eric Dolphy, trombonist Julian Priester, and drummer Max Roach, shows that his playing was really beyond bebop. His seven now-obscure originals (several of which deserve to be revived) are challenging for the soloists and there are many strong moments during these consistently challenging and satisfying performances. [source]
Booker Little – Trumpet
Eric Dolphy – Alt Saxophone, Flute, Bass Clarinet
Ron Carter – Bass
Julian Priester – Trombone
Max Roach – Drums, Vibraphone
Don Friedman – Piano
Good Bless the Child (originally written by Billie Holiday and Arthur Herzog), is from the live jazz album The Stockholm Sessions, recorded in 1961 in Stockholm and Berlin, released in 1981 by Inner City Records.
Eric Allan Dolphy, Jr. (June 20, 1928 – June 29, 1964) was an American jazz alto saxophonist, flutist, and bass clarinetist. On a few occasions he also played the clarinet, piccolo, and baritone saxophone. Dolphy was one of several multi-instrumentalists to gain prominence in the 1960s. He was also the first important bass clarinet soloist in jazz, and among the earliest significant flute soloists. His improvisational style was characterized by the use of wide intervals, in addition to using an array of extended techniques, to reproduce human- and animal-like effects which almost literally made his instruments speak. Although Dolphy’s work is sometimes classified as free jazz, his compositions and solos were often rooted in conventional (if highly abstracted) tonal bebop harmony and melodic lines that suggest the influences of modern classical composers Béla Bartok and Igor Stravinsky. [source]
Line up: Eric Dolpy – Bass Klarinet
[dedicated Adrian Aurelius with all the best wishes for the future]
Recorded at Nola Penthouse Studios, New York, between October 20, 1960 and April 4, 1961. Released in 1961.
The great Eric Dolphy recorded several albums for the Candid label as a sideman including dates with bassist Charles Mingus, trumpeter Booker Little, singer Abbey Lincoln and the Newport Rebels. This CD features eight alternate takes from these sessions, six of which were previously unissued. “Reincarnation of a Love Bird” and “Stormy Weather” are with Mingus in a group also featuring trumpeter Ted Curson, two numbers have vocals by Abbey Lincoln (Coleman Hawkins is heard from on “African Lady”), Dolphy is matched wtih trombonist Jimmy Knepper and the veteran trumpeter Roy Eldridge on “Body and Soul,” and he proves to be a perfect partner of Booker Little in a sextet. Even the “complete” box sets that have been issued of these sessions do not include all of this music, which in general is up to the level of the originally-issued versions. [source]
Charles MacPherson – Alto Saxophone
Eric Dolphy – Alto Saxophone, Bass Clarinet, Flute
Dannie Richmond – Drums
Nico Bunick – Piano
Lonnie Hillyer – Trumpet
Ted Curson – Trumpet
Charles Mingus – Bas
This fresh and determined “All The Things You Could Be By Now if Sigmund Freud’s Wife Was Your Mother” is from the album Charles Mingus Presents Charles Mingus, recorded and released in 1960.
“All The Things You Could Be By Now if Sigmund Freud’s Wife Was Your Mother” is loosely based on “All The Things You Are”, but according to Hentoff, “the musicians keep the original structure… but do not even play the tune’s chord structure. The piece in general is based on A flat. Again, the rhythms change. There is no set beat, and yet there’s an implicit rhythmic flow, up and down, throughout the work”. Explains Dannie Richmond, “Mingus and I feel each other out as we go; but always, when the time comes back into the original beat, we’re both always there. The best way I can explain is that we find a beat that’s in the air, and just take it out of the air when we want it”.
Hentoff concludes, “For once, in these sessions, everyone in a Mingus unit reached – and maintained – that level of daring and that power to make their instruments become extensions of themselves“. [source]
Eric Dolphy (Alto Saxophone)
Charles Mingus (Bass)
Dannie Richmond (Drums)
Ted Curson (Trumpet)
This is a little masterpiece composed by John Coltrane. The first track from the album Olé Coltrane, with only three tracks, plus an additional “bonus” track, recorded may 25 1961, A&R Studios NY. It was Coltranes last album on Atlantic Records, released february 1962. Coltrane tries to explore the larger group format. Olé features Eric Dolphy, Freddie Hubbard, Art Davis, McCoy Tyner, Reggie Workman and Elvin Jones, and Coltrane himself, quite a large ensemble, a septet.
When he recorded Olé Coltrane in 1961, Trane was already transitioning over to Impulse! Records, and his playing reflected the greater freedom that the new label afforded him. In the original liner notes, he is quoted as saying (in a classic understatement), “I like to play long.” On the 18-minute showpiece, “Olé”, one can imagine the profound satisfaction he must have felt, when for the first time, he was free to let his playing stretch out across the record grooves. This is trance music of the highest order. Recorded one year after his former boss Miles Davis released Sketches of Spain, Trane’s “Olé” resonates with the mystical sounds of the North African Moors who once ruled the Iberian Peninsula. “Olé” explores the Eastern-influenced musical modes of Islamic Spain in a more stripped down and earthy manner. [source]
The Line Up:
John Coltrane (Soprano Sax), Eric Dolphy (Flute), Freddie Hubbard (Trumpet), McCoy Tyner (Piano), Reggie Workman (Bass), Art Davis (Bass), Elvin Jone (Drums)