The avant-garde reedist’s iconic outing for Blue Note Records was recorded on this day in 1964
Eric Dolphy, Out to Lunch! (Blue Note, 1964)
Eric Dolphy, Out to Lunch! (Blue Note, 1964)

On this day in 1964, Eric Dolphy entered Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey, to record one of Blue Note Records’ most distinctive and iconic records. Joined by Freddie Hubbard (trumpet), Bobby Hutchinson (vibraphone), Richard Davis (bass) and an eighteen-year-old Anthony Williams (drums), Dolphy brought along his alto saxophone, bass clarinet, and flute for the date.

Out to Lunch! is the culmination of a sequence of recordings that explored the possibilities of avant-garde jazz in the early 1960s, from Dolphy’s first album as leader, Outward Bound (New Jazz, 1960), to Out There (New Jazz, 1960), to his 1961 recordings at the Five Spot and 1962’s Far Cry (New Jazz). Across these works we can hear the artistic development of Dolphy as a restless and inventive talent. Out to Lunch! nods a debt to bebop in its tribute to pianist Thelonious Monk (‘Hat and Beard’), and acknowledges the classical flautist Severino Gazzelloni (‘Gazzelloni’), but while the album negotiates the legacy of bebop and post-bop music it simultaneously reaches towards freer musical forms. (more…)

Revisiting the jazz innovator’s much overlooked minor classic
Ornette Coleman with his saxophone during a rehearsal for The Empty Foxhole, September 1966. Photograph: Francis Wolff.
Ornette Coleman with his saxophone during a rehearsal for The Empty Foxhole, September 1966. Photograph: Francis Wolff.
Ornette Coleman‘s The Empty Foxhole was recorded at the Van Gelder studio 50 years ago today. It was his first studio recording for the Blue Note label, and the avant-garde composer wastes no time performing trumpet, violin, and his signature alto-saxophone. Longtime collaborator Charlie Haden (who followed this website before he passed away) appears on bass. But the personnel is perhaps most notable for the debut appearance of Coleman’s son, Denardo, on drums: he was just ten years old at the time.

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An excerpt from a 1994 interview with jazz saxophonist Joe Henderson
Joe Henderson in October 1963. Photograph: Francis Wolff.
Joe Henderson in October 1963. Photograph: Francis Wolff.

A broad freedom of expression was available in the jazz vocabulary. And Henderson says he misses it these days.

“I’ve done some free things because there’s a part of me that is a bit of an iconoclast and was especially so at that time. Part of the spirit then was just to reject all that stuff like bar lines and key signatures. We didn’t want to know about it.

“So part of the thing then was just to get up on the bandstand. I became a little self-conscious about people coming in with their own music and parts written out for everyone to play and totally displacing what others might want to bring. I just said, ‘Let’s play’ and didn’t want to interfere by even suggesting a title for a tune. (more…)

Excerpt from a 30-minute audio interview
His language like his life is free flowing, a stream that follows the lay of the land and rushes forward from a source of nature. He is full of joy and enthusiasm and his ideas often run ahead of his speech. Thus a conversation with Don Cherry is not a linear, organized event. It takes many contours, and it describes the journey of a remarkable mind and spirit. Just as his music encompasses the ethnic expression of cultures as far flung as the hills of North Africa and the Watts ghetto of Los Angeles, the New York art scene of the ‘50’s and the free community of the diggers in Sweden during the ‘70’s, Don Cherry has always played his own way, a very personal music. Starting as a trumpet player and then moving to the “pocket trumpet” which he made famous while working with Ornette Coleman’s band, Don moved on to flutes, double reed instruments, African string instruments (such as the “hunter’s bow”) and even became a singer in order to set free his musical voice. Don Cherry is a pioneer in the field of “world music”, which, ironically, has lead him back to the classical jazz scene in the United States. [Listen]