Download 1 Szotkowski Annie Szotkowski Alto Sax Album Review 10/14/2011

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Annie Szotkowski
Alto Sax Album Review
10/14/2011
Eric Dolphy Out to Lunch
An acquired reedman and astute forward experimentalist in the avant-garde jazz era, Eric
Dolphy added rhythmic symmetry and respected musicianship to jazz history along with his
eclectic recording from Blue Note Records, Out to Lunch. Recorded on February 25, 1964, Out
to Lunch is comprised of Dolphy on bass clarinet, alto saxophone, and flute with his quintet
members Freddie Hubbard on trumpet, Bobby Hutcherson on vibraphone, Richard Davis on
bass, and Tony Williams on drums. Born June 20, 1928, Dolphy continued to contribute a
distinct sound to the world of jazz as described as “tonal bebop” and provided skillful ideas until
his death from a diabetic coma shortly after Out to Lunch was recorded (BBC Music). Eric
Dolphy’s technique was also noted for his integration of wide intervals and “an array of extended
techniques to produce human-and animal – like effects which almost literally made his
instruments speak,” which is evident in Out to Lunch’s tracks (BBC Music). As a jazz alto
saxophonist unfamiliar with Eric Dolphy’s sound, I am impressed with his skill and proficiency
in bass clarinet, alto saxophone, and flute. Out to Lunch is cohesive but at times fragmented to
create a sensational experience for the listener whether well-versed in jazz or not.
Fast and rhythmically complex, Hat and Beard opens with an appoggiatura by the
trumpet and bass clarinet. The melody is based in Dolphy’s bass clarinet ascending pattern of
root, 5, root, 4, root, 3, 2, root and repeats. The vibes respond in a mirror sort of pattern
descending. The overall feel of the song is like walking down the stairs, the feet are like
Dolphy’s individual melodic note choices. As the track continues, the brass layers sound over the
vibes, which layers over the rhythm section. Dolphy incorporates tight bebop infused articulation
and patterns, similar to Charlie Parker in complexity, with attention to growls and patterns in the
high register of the instrument. Hubbard solos with a rich articulation with rhythmic attention to
melodic continuity. Hutcherson transitions on the vibes as the bass and brushes pat the rhythm in
the background. Hutcherson’s mallets clang, like a hammer to a spike, as the bass drums beats in
a short call-and-response. Hutcherson inserts various rapid triplets and utilizes space to insert
quick, intentional note patterns, but does not overpower the rhythm section. The melody returns
to the bass clarinet. The overall quality of the piece draws attention to the intricate parts within
the song that are like a mind-map for musical analysis that leaves me to think “wow, zowie” after
listening.
The ballad in Out to Lunch, Something Sweet, Something Tender reminds me of Duke
Ellington’s “In a Sentimental Mood” in melodic construction and tonal quality but with harsh
bass patterns in the background. The trumpet and bass clarinet carry on a duet that flows into a
sort of interwoven conversation with the trumpet coloring the overall feel of the song which is
grave, confused, maybe a bit bewildered. Dolphy returns to a bebop style solo independent of
shaping the melody but using improvisational acuity to shape complex phrases. The trumpet and
clarinet return to a slow melancholy conversation while the vibe chimes in noticeably. Overall,
the musicians share dark, minor chords that resonate distinctive tones that match the pitch of the
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bass, which I believe is played with a bow during part of the song. Solos are not as emphasized
as the synergy that creates a blue, troubled overall tone.
In Gazzelloni, a fast tempo allows Dolphy to associate his flute melodies the drums and
the vibes. The flute is very animalistic, like a birdsong, within basic, sold chords played by the
vibes (so to not overpower the flute with individual note patterns). The drums and vibes maintain
consistent patterns and drum styles as the trumpet solos. The drums and trumpet sync in the
rapidity of the solo and rhythmic background. The vibes demonstrate many alternating patterns
either ascending or descending, while the mallets play more individual note patterns, adding to
the solos complexity. The accompanying snare drum subtly taps out an intricate fast pattern that
turns into swing, “Sing Sing Sing” without the bass drum, as the bass resolves his solo and
smoothly transitions back to the melody. Gazzelloni inspires feet to tap and triggers curiosity
into the complex rhythmic patterns.
In Out to Lunch, the trumpet and alto saxophone share compatible pitch to produce a
cohesive pattern involved. The vibes repeat patterns layered beneath the melody in what I predict
is 6/8 time. Dolphy’s solo on the alto saxophone has common resolutions that leave the listener
hooked to his next idea or phrase. Fast but not choppy, his solo matches the energy of the rhythm
section. As drums and bass drop tempo, Dolphy’s notes are elongated and fewer notes are
emphasized. The trumpet jumps in above a quickened tempo and exhibits proficiency in chord
changes. The trumpet repeats phrases multiple times then builds upon a horizontal squiggly line
of note ascents and descents. Not much dynamic contrast is noticed. Richard Davis performs a
considerable solo using a pluck and smooth base line routine. Tony Williams plays the high hat
and snare in a march like cadence or like a pattern you would recognize with a marching band.
To introduce the conclusive track of the album Straight Up and Down, the trumpet and
alto saxophone play a sort of burlesque, can-can like pattern that frequently entices the ear to
what the melody will deliver. Dolphy’s solo is set in a swing sort of pattern orchestrated by the
drums and bass as the vibes comp minimally. Dolphy’s solo on the alto sax is rich, perfect
intonation within the high register, and takes risk in altissimo as well. Some resolutions end on a
low “womp” but Dolphy spikes interests with a whiny sort of pattern that ends up top and
switches intervals frequently. The trumpet follows with sharp articulated tonality with Dizzy
Gillespie like patterns as the vibes respond with repetitive, ripple-like note patterns. These solos,
set in 4/4 time, create enough space with high energy. The beginning of the vibe solo reminds me
of La Vie en Rose with an ascending chromatic scale. From there, the notes are grouped in short
intervals that end with both mallets on the last chord as the melody blares its final entrance.
Sources
“Eric Dolphy.” BBC Music. British Broadcasting Company. Received 14 Oct 2011 from
http://www.bbc.co.uk/music/artists/badda5cf-f2c5-4dc2-b3d3-07467bdf0f71.