♪ Discography Reviews · Alto Saxophone, Bass Clarinet, Flute

Eric Dolphy

Complete Reviews, 1960–2018

Eric Dolphy made all of his work as a leader in roughly four years. He died at twenty-six. The recordings that survive, on Prestige's New Jazz subsidiary, on Blue Note, and on European radio archives, contain some of the most harmonically advanced playing in jazz: angular, melodic, and human in a way the avant-garde of the same period often was not. Twenty-two albums across three eras. Browse below.

22Albums
59Years of Releases
3Eras

Eric Dolphy, 1928–1964

Eric Allan Dolphy Jr. was born June 20, 1928 in Los Angeles. He played clarinet in junior high and switched to alto saxophone, eventually adding bass clarinet and flute to his working setup. He was active on the LA scene through the 1950s, including a long stretch with Chico Hamilton's quintet (1958 to 1959) that brought him East and put him in front of audiences that included Charles Mingus.

Mingus hired Dolphy in 1959 and the relationship became one of the central artistic partnerships of both musicians' careers. The early Prestige and New Jazz dates (Outward Bound, Out There, Far Cry) and the Five Spot live recordings with Booker Little in 1961 established the bass clarinet as a viable solo voice in jazz, a status it has not really lost since.

Out to Lunch! on Blue Note in February 1964, with Freddie Hubbard, Bobby Hutcherson, Richard Davis, and Tony Williams, is the record on which most of Dolphy's posthumous reputation rests. He left the United States for Europe in June 1964 to tour with the Mingus band and stay on for solo dates. Last Date, his final studio session, was cut in Hilversum on June 2. He collapsed in Berlin on June 28 from undiagnosed diabetic shock, and died the next day. He was twenty-six.

The Dolphy catalog has continued to grow for sixty years through European radio archives and previously unissued studio dates. The Resonance Records release Musical Prophet in 2018 added three complete unissued 1963 sessions to the discography, a measure of how much of his recorded work remains a discovery.