e-limbo, e-zine de informacion y analasis de modos de vida actual
 
22.08.2017 / Sesión no Iniciada 
_Placer

 _enviar articulo

e-mail emisor
e-mail receptor
Ayúdanos a evitar contactos automáticos
Anti Spam
Texto
 

En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
Eric Dolphy * Hi-Fly
09-06-06 Seleccionado por: karaoke kamikaze 

 


by Milo Davis

Hi-Fly


Eric Allan Dolphy (June 20, 1928June 29, 1964) was a jazz musician who played alto saxophone, flute and bass clarinet and was educated at Los Angeles City College. Dolphy was the first important bass clarinet soloist in jazz, and one of the first viable flute soloists in jazz. On early recordings, he occasionally played traditional B-flat soprano clarinet. His unique and individual style utilised wide intervals, speechlike effects and exotic scales.
Classical music played a large role in Dolphy's early training and remained important to him. Dolphy performed and recorded Edgard Varese's Density 21.5 for solo flute as well as other classical works, and participated heavily in Third Stream efforts. Dolphy's work is sometimes classified as free jazz, though he insisted that his compositions and solos were grounded in a thorough, if occasionally unorthodox, use of harmony.
All this stuff come from Wiki


Jazz needs Eric Dolphy more than ever. A virtuoso on saxophone, clarinet and flute, his work bridges the two sides of a debate that dogs jazz fans and performers today. To oversimplify, the neoconservatives argue that jazz must be profoundly grounded in tradition, that new developments are little more than a gloss, and that history stops with Miles Davis and modal jazz in the middle '60s, with bare whispers of Ornette Coleman and nothing from swingless radicals like Cecil Taylor. The rebels (most now older than the neocons) counter that jazz loses its essence by going backward, that the titans revered by the neocons were fearless innovators, and that the whole reactionary movement reduces jazz to a museum music with a self-righteous fence around it. Dolphy could have listened to both sides, picked up his horn, and showed the way out in a dozen choruses. But he died in 1964, barely 36, struck down by complications stemming from undiagnosed diabetes.



Dolphy, who studied classical flute with Elise Moennig (and brought the instrument into jazz more forcefully than anyone before him) and founded the bass clarinet as an improvising horn, flourished in a jazz scene far more turbulent and riven than today's. A Los Angeles native who honed his chops for years on the local scene, he gained national attention as a member of the Chico Hamilton band, and went out on his own at the end of 1959. By then, Taylor and Coleman had already dropped the bombshells that ignited free jazz, and the response to their challenge would dominate the next 10 years of the music. Dolphy began with a blast of creativity: he would never record as much for the rest of his life as he did in 1960-61. Many key parts of those sessions are gathered together for the first time on the 9-CD box "Eric Dolphy: The Complete Prestige Recordings" (Milestone).

No acquaintance ever had a bad word to say about Eric Dolphy the person. All describe him as calm, kind, witty, humble and introspective. The mercurial bassist and band leader Charles Mingus, a harsh judge of character, called Dolphy "a saint." He needed the internal fortitude to withstand the resistance his work met not only with the public but with more traditional jazz players. Financially strapped his whole career, Dolphy had to scramble for gigs. He never touched drugs or alcohol. His only addiction was constant practicing -- in the bathroom between sets, next to the record player at parties.



The sound-blip version of Dolphy is that he was freer than John Coltrane but more traditional than Ornette Coleman. He met both men in the middle '50s and later played crucial dates with them, as well. But Dolphy's technique and soul stand apart.

His rhythm was firmly grounded in the bebop of Charlie Parker and moved away from it very carefully. Although Dolphy was very elastic with time by the end, the foundation of bop never disappears entirely in his jazz pieces. His harmonies and chords were bold from the start. His playing referred to the basic tonality of a piece less and less frequently and his passion for passing chords was immense and inspired. In some ways, Dolphy was more disconcerting to bebop (not to mention swing) traditionalists than Coleman, because instead of speaking an entirely new language, Dolphy used a startling variant on a familiar one. He was fascinated by tunes with odd, uneven structures and instrumentation. But always he was studied, assured, in his explorations.
Dolphy claimed he wanted to make his horns talk, and the exact harmonic sequence of his solos has little to do with the appeal of hearing them. One reason Charles Mingus picked Dolphy for his band was because of the vivid vocal quality of his saxophone playing. Mingus was a bit of a literalist. In "What Love" (recorded in 1960 but not for Prestige) Mingus and Dolphy recreate an argument, affectionately resolved, between them, and their bickering through their instruments is a joy to hear. All of Dolphy's best work has this singing quality -- yearning and laughing stretches broken by harsh tones that never impede the forward roll of his thoughts. If Dolphy lacks the relentless searching quality of Coltrane or the flair for beauty-amidst-chaos of Coleman, he is a more disciplined poet than either, and perhaps a more classic modernist.



"The Complete Prestige Recordings" is a big, expensive chunk to bite off for a Dolphy beginner, but it will hold up for anyone who claims to be a half-serious fan of modern jazz. The ideal starting point is the unaccompanied bass clarinet treatment of Billie Holiday's "God Bless the Child" on disc nine. In the course of six- and-a-half faultless minutes, Dolphy covers the original outline of the song with dazzling Cubist angles and refractions. Very "outside," it's never merely wild. The same can be said for "The Prophet," part of a tremendous in-concert band showcase that incorporates all of the celebrated Live at the Five Spot tracks. Dolphy shines in the company of the equally adventurous trumpeter Booker Little, and Dolphy's first solo on "The Prophet," though filled with seeming shrieks and holy cries, uses firm technique to take risks. Underpinning everything is the unmistakable drumming of Ed Blackwell, a Coleman associate who's always the essence of brains and funk.



"The Complete Prestige" also includes Dolphy highlights like "Far Cry," featuring Booker Little and almost as exciting as the Five Spot numbers, and Dolphy's breakthrough as a leader, "Out There," with its eerie cello work from famed bassist Ron Carter. The box gathers probing albums by others with strong Dolphy features: Oliver Nelson's "Straight Ahead" and, especially, Mal Waldron's overlooked "The Quest." But even all these can't cover Dolphy's prodigious activity at the time.

While he recorded for Prestige, Dolphy played on such jazz monuments as Ornette Coleman's "Free Jazz," George Russell's "Ezz- thetics" and, just after Prestige, "John Coltrane's Live at the Village Vanguard." Dolphy took a long break as a leader after leaving Prestige, working on such wondrous but little-known albums as Andrew Hill's "Point of Departure. " Dolphy's absolute timeless masterpiece under his own name, "Out to Lunch," dates from this later period. Perhaps, given more time, he would have led a sterling band such as the one on that Blue Note album. Up to the very end, even as his unsuspected diabetes felled him in Europe, his solos on "Last Date" show he was finding deeper, richer combinations.



Dolphy speaks his most famous lines after the final notes of "Last Date": "When you hear music, after it's over, it's gone in the air. You can never capture it again." His magnificent 9-CD box alone proves this is not so, but the remarks are usually applied to Dolphy's premature departure. And indeed, his like will never be captured again.


Milo Miles, a Cambridge, Mass.-based freelancer, wrote about trip-hop music in the first issue of SALON. His reviews of world music can be heard on NPR's "Fresh Air."









Publicado originalmente en www.salon.com





   
 

Rating: 4 - 1 voto(s).

   
_COMENTARIOS
No existen comentarios.
Comentario / Comment:
  atención: para realizar comentarios tienes que ser usuario registrado.
        

_HistÓrico_Placer

23-10-10_ Brownswood Basement DRUM & BASS
28-02-10_ La lluvia en Brighton
18-10-09_ Entrevista sobre Post-Porno
17-05-08_ Una profunda tentación de vacío
31-03-08_ Donde las miradas matan (deseo, peligro)
25-09-07_ Gilles Deleuze. Conversaciones (1972 / 1990)
27-06-07_ Porno ergo sum
22-05-07_ Nancy... BAM !¡ BAM !¡
12-05-07_ 7 ( o la barra del siete)
26-06-07_ La Maqueta
02-05-07_ Dressed to kill: museum (Katz woman)
16-04-07_ Los Soprano: 5 temporadas en 7 minutos
05-04-07_ Lovecraft *Al otro lado del umbral
14-03-07_ Nouvelle Vague Porn
16-01-07_ La tortura de la Esperanza 
10-06-08_ ¿Por qué Godard?
21-12-06_ How to make a fake + F for fake  + Almost true
11-08-07_Reunión: John Cage, Marcel Duchamp, Música Electrónica y Ajedrez
02-12-06_ Baterías y algo más
27-11-06_ Taller Porno en Hangar
23-11-06_ El Madrid de la Petite Claudine
15-11-06_ Que mil nombres florezcan
10-11-06_ El Modelo de Pickman * Lovecraft
10-11-06_ ¿Es posible un Homer español?
05-11-06_ Tomie
01-11-06_ Otis Redding at the Whiskey A Go-Go
26-10-06_ Beck with the Flaming Lips
24-10-06_Beck + Gondry
17-10-06_Matsumoto Toshio * Documentarists of Japan # 9
11-10-06_links for 2006-10-11
08-10-06_ The Specials at Hurrah's in 1980
05-10-06_Andy Warhol's Silver Flotations * Willar Maas
09-12-07_ Love, peace & poetry: Turkish psychedelic music
30-09-06_Trial and Error * on Weight-loss drugs
18-09-06_Greil Marcus * The mystery of the woods
17-09-06_State of the Annotation
14-09-06_Los Fans del Hip Hop FOLLAN +
07-09-06_Goya reloaded
03-09-06_Pianoless Vexations (Erik Satie)
31-08-06_Podemos recordarlo todo por usted
16-08-06_James Joyce * Una nubecilla
11-08-06_Villa Landor
27-07-06_El hombre variable
25-07-06_No sólo las calorías
22-07-06_Adrià exalta las flores
27-06-06_Milton y su humano Satán
19-06-06_Pasiones geométricas
16-06-06_La cosmología es cosa de Dios... (H)Ala ¡!¡!
13-06-08_Kure Kure Takora (Gimme Gimme Octopus)
03-06-06_The View from the Bandstand
05-06-06_The sharing meal
11-07-07_ Frank Zappa * ...deciamos ayer
19-05-06_The Wall Street Journal of rock'n'roll'
06-06-06_How to Draw a Bunny
07-06-06_The fine art of revenge
12-05-06_Jean Seberg
09-06-06_Eric Dolphy * Hi-Fly
07-06-06_Bill Evans * in memorian
22-04-06_Tribeca Dining Guide: Where to Eat at Next Week's Film Festival
10-04-06_Gabriele d’Annunzio * De cómo la marquesa de Pietracamela...
09-04-06_Berlín, la vanguardia a pie de calle
05-04-06_Antisocial Networking Gets Hip * Snubster
01-04-06_Dos genios en el mercado
26-03-06_AgitPropStar
13-03-07_ Mozart and Salieri
05-03-06_Michel Montignac | Una muerte ligera...
01-03-06_Cultivating a Mystique
26-02-06_Después del baile
21-02-06_An Interview With Jose Orlando Padrón
17-02-06_Undécima serie, del sinsentido
15-02-06_When vice presidents shoot people
12-02-06_Reductio ad Perfectionem: What a Pigeon
11-02-06_El arte de la mirada silente / ARCO '06
07-02-06_Crystal Clear: An Interview with Shea Zellweger
07-02-06_The Way We Eat: Schnitzel on the Brain
26-02-06_El color que cayó del cielo / H.P. Lovecraft
29-01-06_Autenticidad por los cuatro costados / De la Riva
29-01-06_To tell... or not to tell
26-01-06_... la lluvia en Sevilla (si tienes casa) es una maravilla
27-01-06_Languedoc vs. Burdeos: ¡Guerra civil!
23-01-06_Ciencia y cocina se fusionan
16-01-06_Descargar la espalda con yoga
16-01-06_Sabores de Asia en tres dimensiones
10-01-06_Cookshop Charms With Gutsy Food, Fiery Rotisserie
05-01-06_Viticultura Bordelesa en el Duero
19-12-05_Como viajar de Londres a Madrid en el siglo XXI
30-09-05_El efecto de una relectura
11-09-05_La carta de Lord Chandos
10-08-06_Villa Landor
19-12-05_Como viajar de Londres a Madrid en el siglo XXI
29-09-05_El efecto de una relectura

_ORBITAL_Placer

_Servicios

test
Regístrate y disfruta de utilidades de administración y gestión de los contenidos de e-limbo*
Recibe las novedades en tu correo electronico.
El futuro está escrito en las estrellas... Horóscopo creado por J.G. Ballard y dedicado a todos vosotros.
Aplicaciones y herramientas necesarias para navegar y utilizar los contenidos del limbo electrónico e internet (www).
Artículos de e-limbo* en formato PDF preparados para viajar y aportar información allá donde estés. (y seguir salvando árboles)

_e-limbo * apoya

test

_Multimedia

_AUDIO >
Mais uma edição do podcast Música Livre para o Archivo Vivo, do Centro Cultural da Espanha/AECID. ...
_PODCAST >
Ante preguntas de oyentes y amigos, puedo responder ahora que Vía Límite continuará en Radio ...
_VIDEO >
SORPRESA¡!¡! An unreleased version of Talking Heads' "Psycho Killer" with Arthur Russell on cello
Optimizado: Firefox, Safari, Mozilla, Netscape, Konqueror, Explorer. Resolución óptima: 1024x768
ISSN: 1885-5229    Aviso Legal e-limbo.org*