Jose Reyes

Jose Reyes

“Outward Bound” with Eric Dolphy is featured

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This is an excellent album that will further rectify the genius of Eric Dolphy. It was recorded in 1960 and like all of Eric Dolphy’s albums, it is reinforced with an all star cast that can keep up with him. There’s Freddie Hubbard on the trumpet, Jaki Byard on piano, George Tucker on bass and Roy Haynes on drums. As usual and absolutely not out of the ordinary, Dolphy plays three separate instruments throughout the album, the flute, the baritone sax and the alto saxophone. Many who are not familiar with his exceptional musicianship, mistakenly characterize his work as too far “out of the box.” Dolphy was actually a true hard bopper at heart but he knew how to disguise is very well. Oh yes, Dolphy would go out on a tangent, that’s for sure but it was because he could! He was so talented that he had to and what many failed to recognize, he was very discipline. Thanks to the accepted improvised nature of Jazz, he was allowed the freedom to express himself to the fullest. This is the beauty of Jazz and what separates it from almost any other form of musical art. The more you listen to Eric Dolphy and realize the impact he had on those who performed with him, the more you will understand him. “Outward Bound” will be featured for about a week, check the schedule link for play times.

About the album:

Digitally remastered using 20-bit technology by Shigeo Miyamoto (JVC Studios). Digitally remastered using 20-bit K2 Super Coding System technology. This is part of the Prestige Records 50th Anniversary Commemorative Special Edition series. The late multi-reed player/composer Eric Dolphy, one of the most pivotal figures in jazz, was a fiercely lyrical imaginative musician at the forefront of the changes the music underwent in the 1960s. Dolphy, unlike some of his contemporaries, never totally abandoned the bebop approach of soloing over chord changes, but instead took his solos to fresh, expressive heights. OUTWARD BOUND, a quintet session from 1960, shows Dolphy in a somewhat transitional phase, his music closer to the hard bop of the late ’50s than the free jazz of the ’60s. “245” is a late night blues on which Dolphy, on alto, testifies his feeling and loyalty to the form. The standard “Glad to Be Unhappy” is given a lovely, lively reading on flute……..Read More

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