Search - Eric Dolphy :: Complete Prestige Recordings

Complete Prestige Recordings
Eric Dolphy
Complete Prestige Recordings
Genres: Jazz, Pop
 
  •  Track Listings (11) - Disc #1
  •  Track Listings (11) - Disc #2
  •  Track Listings (14) - Disc #3
  •  Track Listings (13) - Disc #4
  •  Track Listings (12) - Disc #5
  •  Track Listings (9) - Disc #6
  •  Track Listings (5) - Disc #7
  •  Track Listings (6) - Disc #8
  •  Track Listings (7) - Disc #9

Eric Dolphy, like Clifford Brown, was a musical angel, who made the most of his short stay on Earth. One of the great musical innovators of the 20th century, Dolphy was a wailing, fearless spirit with impeccable instrumen...  more »

      
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CD Details

All Artists: Eric Dolphy
Title: Complete Prestige Recordings
Members Wishing: 5
Total Copies: 0
Label: Prestige
Original Release Date: 11/28/1995
Re-Release Date: 12/5/1995
Album Type: Box set
Genres: Jazz, Pop
Styles: Avant Garde & Free Jazz, Modern Postbebop, Bebop
Number of Discs: 9
SwapaCD Credits: 9
UPCs: 025218441827, 090204408627, 025218441827

Synopsis

Amazon.com
Eric Dolphy, like Clifford Brown, was a musical angel, who made the most of his short stay on Earth. One of the great musical innovators of the 20th century, Dolphy was a wailing, fearless spirit with impeccable instrumental skills, and an authentic jazz pedigree, just as much at home in swing and bop settings as we was in avant garde and classical contexts. Over the course of nine discs, Eric Dolphy: The Complete Prestige Recordings documents his growth as a composer and improviser, both as a leader and a sideman. Dolphy could do it all, with a phenomenal technical and emotional command of the reed and woodwind family, most prominently alto sax, flute, and bass clarinet (an instrument he elevated into an archetypal jazz voice, as evidenced by his speech-like turns of phrase on an unaccompanied "God Bless the Child"). Among a rich buffet of highlights, his studio recordings with Roy Haynes and Jaki Byard are standouts, but it's his spiritual partnership with the youthful trumpet titan Booker Little (on the studio recording of Far Cry and their legendary live sets at Manhattan's Five Spot) that produce this box's most compelling moments. --Chip Stern
 

CD Reviews

Song Of The Piper, Hallmarks of Excellence.
Michael F. Hopkins | Buffalo, NY USA | 11/13/2005
(5 out of 5 stars)

"Marked with the gift to draw fire from the soul,
and from this weave robust, honest, creatively
beautiful Music, he was a genius who called the
Spirits awake with towering imperative; vibrantly
dancing elder Traditions into Life anew. Composer
deluxe and arranger extraordinaire, his hunger
and thirst brought a whole new voice to the alto
saxophone, while single-handedly bringing the
flute and bass clarinet into instrumental Jazz
prominence for the first time. With humility and
purpose, a dedicated drive and a joyous song,
Eric Dolphy struck a dissonant chord of challenge,
clarity, and command which continues to resound
throughout the corridors of African American
legacy, and beyond.

Yet, over 40 years after his senseless death due
to medical neglect, Dolphy remains a largely
unknown commodity to the world-at-large, an
aesthetic pariah held suspect by the timorous,
the jaded, and the confused. Even certain Jazz
artists who should have known better -including
Miles Davis and Sonny Stitt- have made ruthlessly
callous remarks which impugn Dolphy's unimpeachable
validity as a master musician.
With the phenomenal pianist Herbie Nichols, the
exceptional vibraphonist Walt Dickerson, and the
incomparable singer Jeanne Lee, the Watts native
stands as one of the most misunderstood and
underrated giants in all of Music.

Just how monumental a giant Dolphy continues to
be can be measured in the array of great musical
originators who have been touched by his tireless
efforts. Heed reedslinger David Murray's jaunty
roar, flutist James Newton's pervasive wizardry,
or instrumental composer Anthony Braxton's probing
multimedial muse, and you gain a taste of how
mightily the Dolphy influence reaches into the
very best of the Here and Now.

In equal fashion, a listen to the man's recordings
will reveal much to savor. From his scorching work
alongside Ornette Coleman, Abbey Lincoln, Andrew
Hill and Max Roach, to his groundbreaking
partnerships with Chico Hamilton, Charles Mingus
and John Coltrane, Dolphy was very much a mover
and shaper of penetrating cultural expression.
His last recordings, principally for the Douglas
and Blue Note labels, show what an astonishing
trailblazer the multireed shootist continued to
be to the very end, vividly suggesting the wealth
of material which should have been.

Fortunately, the reedsmaster's recorded legacy is
as diverse and bountiful as it is brief. Anyone
needing proof of this may regard his most noted
bloc of work, and strap in for a heady ride. ERIC
DOLPHY: The COMPLETE PRESTIGE RECORDINGS
is high adventure, deep romance, and bountiful
history all rolled into one powerful package of
Great Black Music.
This stupendous 9-CD Fantasy Records collection
assembles all of Dolphy's debut recordings as a
leader, along with all of his work as a sideman
for Prestige/New Jazz, into a singular tribute
to the significance of 1960-61 as a vital time
for Creative Music.
From incandescent solo performances to soaring
orchestral splendor, along with some of the most
delightful and innovative of all small group
presentations, The COMPLETE PRESTIGE DOLPHY
is an important collection; a must for any
serious listener of fine Music, Jazz and
otherwise.

As mighty as Dolphy was as a prime mover, much
of his greatness is rooted in his contributive
generosity; always providing ample soloing
space for everyone, while keeping focus upon
the total effort at hand. No dead silences
or shrill, self-indulgent exercises here.
No museumpiece apings of other folk's
groove, either.
From quiet time to explosive jam, from studio
summits to vital live concert juggernauts, THE
COMPLETE PRESTIGE DOLPHY offers the conceptual
daring and lyrical diversity of artists having
a lot of swinging fun paving fresh, freeweaving
new ground.

Walk the way of this Music, and stroll through
wonderlands of song forged by formidable pianists
such as Jaki Byard and Mal Waldron, lithe, pulse-
sifting drummers such as Roy Haynes and Edward
Blackwell, plus string wizards such as Chuck
Israels, George Duvivier, Richard Davis and Ron
Carter. Fellow reedsmen Booker Ervin, Ken McIntyre,
and Eddie "Lockjaw" Davis are deep in their fiery
element here, while the rare original session with
the Latin Jazz Quartet is pleasant in its reflective
poise. The first strides of Oliver Nelson brought
stunning promise and a fleeting reclamation of
stolen moments, while a young Freddie Hubbard
trumpets with a clarity, precision and tempestuous
vision that has never been surpassed - not even
by him.
Deliciously dangerous, clarion-calling chases such
as Dolphy's "Miss Ann", Waldron's "Status Seeking",
Sonny Rollins' "Oleo" and Booker Little's off-minor,
major spirit-chase "Aggression" take their place
alongside serenading Blues such as "Serene", classic
renditions of standards such as "On Green Dolphin
Street", "Tenderly", and "Like Someone In Love", as
well as memorable Jazz ballads such as Byard's "Ode
To Charlie Parker", Randy Weston's "Hi-Fly", and the
legendary solo presentations of Billie Holiday's
"God Bless The Child".

Those who value the rarefied synergy conjured
by the team of Dolphy and trumpeter Booker
Little will find this collection especially
attractive, since it contains all of their
classic live recordings from NYC's Five Spot
Café, as well as their historic first meeting
on FAR CRY. With Duke Ellington and Billy
Strayhorn, Randy Weston and Melba Liston,
Dolphy and Little formed one of the finest
collaborative teams in all of Jazz.

As for the Memphis-born Brass King who bridged
Clifford Brown's golden blaze with the silver
blue spells of Miles Davis, Booker Little's
aqualine call to wisdom and glory is a treat
all its own.
Humble, exuberant, and highly creative, the
trumpeter's generous, buoyant play set precedents
which have never been surpassed... even decades
after his tragic death in the Fall of 1961.

Throughout it all, listen to the never-ending
development that was Eric Dolphy. A latter-day
Pied Piper, he lived to make Music as no one else
could, or has since. In times where to sing and
play too often means to posture and be procured,
the significance of the Dolphy legacy is its joyful
uniquity and staunch resilience in the face of
embittered dissolution.
For those who heed this call, expression means to
speak out. Art speaks with a purpose, and for a
reason. Responsibility calls for the exchange of
conversation, as well as the depth of communion.

With the exception of the priceless European concerts
which close this collection so perfectly, engineering
master Rudy Van Gelder is the source of this set's
astonishing auditory wonder. As for Esmond Edwards,
his stance as the original producer for most of these
recordings marks the African American entrepreneur
as a pioneer; one who set precedents for Black people
behind the scenes needing to market -not milk down-
the deepest forms of Black Music.

Handsomely packaged, astutely annotated, ERIC DOLPHY:
THE COMPLETE PRESTIGE RECORDINGS is a wonderful tapestry
of artistry holding nothing back, a Black aesthetic
offering Music which dares to be both beautiful and
truthful without fear. Music offering choices to
hear.

A song and a way to hold dear.





"
Great complet with few obscure moments.
Slaninka Frantisek | Bratislava Slovakia | 09/05/2006
(5 out of 5 stars)

"This is almost all what Eric Dolphy recorder for Prestige and Eric plays great on most tracks.
1st session: (album Outward Bound) includes titles:
G.W.(as), 245(as), Green Dolphin Street(bcl), Glad to be Unhappy(fl), Les(as), Miss Toni(bcl), April Fool(fl)
Eric's first recordings as leader and perfect session. All great stuffs. I love his blues 245 alto solo especially.

2nd session: (Oliver Nelson's Screanim' the blues) with:
Three Seconds(as), Alto-itis(as), The Meetin'(as), The Drive(as), March On March On(as), Screamin' the Blues(bcl)
Fine album. Eric plays great again.

3rd session: (Ken McIntyre's Lookin'g ahead) with:
Lautir(fl), Curtsy(as), Geo's Tune(as), They All Laughed(as), Head Shakin'(as), Dianna(bcl)

4th session: (Dolphy's album Out there) with:
Out There(as), Serene(bcl), The Baron(bcl), Eclipse(cl), 17 West(fl), Sketch of Melba(fl), Feather(as)
It could be great album, but it's mared by Ron Carter's amateurish and with many false tones cello playing on some tracks. I like Out there and especially Eric's superb alto solo on Feather. Serene and The Baron are good too. Other records are unlistenable although Eric plays very good especially on flute.

5th session: (Caribe with Latin jazz quintet and Eric Dolphy):
Caribé(as), Blues in 6/8(as), First Bass Line(bcl), Mambo Ricci(as), Spring is Here(fl), Sunday Go Meetin'(fl)
Fine latino with superb Eric's playing.

6th session: (Eddie Lockjaw" Davis and album Trane whistle):
Walk Away, Trane Whistle, Whole Nelson, Stolen Moments, Jaws, You Are Too Beautiful (as,bcl)
Eric plays here but nobody listen him. It is orchestral album.

7th session: (Dolphy-Booker Little's Far cry):
Ode to Charlie Parker(fl), Bird's Mother(bcl), It's Magic(bcl), Serene(bcl), Miss Ann(as), Far Cry(as), Left Alone(fl), Tenderly(as).
Great album with classic like Miss Ann and perfec unaccompanied alto solo on Tenderly. Booker doesn't play on Left alone and It's magic too.

8th session: (Oliver Nelson quintet with album Straight ahead) with:
Images(bcl), Six and Four(as), Mama Lou(fl, as), Ralph's New Blues(bcl), Straight Ahead(as), 111-44(bcl)
Supreb album. I like all song here. Perfect playing by everybody. My top favourite song are bluesy Images with beautiful Nelson's solo and quickly Straight ahead with perfect playing by Dolphy.

9th session: (Ron Carter's Where):
Rally(bcl), Yes Indeed(fl), Saucer Eyes(fl), Softly as in a Morning Sunrise(as) Where and Bass duet without Dolphy.
Boring album with many Carter's lapses in his cello's playing.

10th session: (Mal Waldron's The quest):
Thirteen(as), Duquility(as), Status Seeking(as), Warp and Woof(as), Warm Canto(cl), Fire Waltz(as), We Diddit(as)
Similar album like Carter's Where.

11th session: (Dolphy-Booker's At the Five Spot):
Status Seeking(as), God Bless the Child(bcl), Aggression(bcl), Like Someone in Love(fl), Fire Waltz(as), Bee Vamp(bcl), The Prophet(as), Number Eight(as), Booker's Waltz(bcl)
Very good live album. Both Eric and Booker are in good form, but sometimes bit monotonous. Production and sound of this recordings is the best on whole box. Like they playing on your living room. On god bless the child Eric plays unnacompanied bcl solo(only in left loudspeaker). He's playing very aggressively on The Prophet and great on Status Seeking.

12th and 13th sessions: (Dolphy in Europe):
Don't Blame Me(fl), When Lights are Low(bcl), Glad to be Unhappy(fl), Hi-Fly(fl), God Bless the Child(bcl), Oleo(bcl), The Way You Look Tonight(as), Laura(as), Woody'n You(as), In the Blues(as), Les(as)
Missing 2 takes of Miss Ann.
Superb sessions and great production again. Famous free alto solos on almost all alto tracks. On God Bless the Child Eric plays unnacompanied again and lovely flute-bass duet on Hi-Fly.

Sound on this box is with lot of reverb and there are some failed songs, but it is must for any Dolphy's fan."
Gorgeous - you'll love it
Peter Butler | Colorado | 02/17/2010
(5 out of 5 stars)

"The music on this set is so glorious that it makes you want to weep that we lost this angel so young. However the fabulous unaccompanied "Tenderly" and the intro to "Laura" are so gorgeous that you might think that Eric Dolphy has risen from the dead and is in your house playing just for you. They are playful and sinuous and every new invention makes you smile even when he cannot keep his flute from going sharp. The remastering throughout the set is very crisp and lets you hear every musician individually. It is fashionable to knock Prestige but I have a new respect for them now. If they can produce a set like this then I forgive them for out of tune pianos etc and even this rather annoying vertical format box that does not sit with your other CDs. But maybe it should be kept on a pedestal anyway."