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| 4.901 Ft
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| 1. | G.W.
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| 2. | On Green Dolphin Street
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| 3. | Les
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| 4. | 245
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| 5. | Glad to Be Unhappy
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| 6. | Miss Toni
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| 7. | April Fool
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| 8. | G.W.
Take 1
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| 9. | 245
Alternate Take 1
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Jazz / Post-Bop
Recorded: Apr 1, 1960, Van Gelder Studio, Englewood Cliffs, New Jersey
Eric Dolphy - alto saxophone, bass clarinet, flute
Freddie Hubbard - trumpet
Jaki Byard - piano
George Tucker - bass
Roy Haynes - drums
Dolphy had left his native California and come east as part of Chico Hamilton's group, settling in New York in 1960 and becoming part of Charles Mingus's group. This first recording as a leader brought comparisons with Ornette Coleman but the two were really parallel figures in the then-emerging avant-garde. Dolphy did not eschew "changes," as Coleman did, but he used them in new ways. This LP was significant not only for his alto saxophone but introduced his individual approach to the flute and, particularly, the bass clarinet.
Eric Dolphy has sometimes been described as an iconoclast, but in Outward Bound, he was not overturning his idol, Charlie Parker; he was building on Bird's legacy. So deep was Dolphy's musicianship, so free his imagination, that he enchanted trailblazers like John Coltrane and Charles Mingus. Partnering in this collection with the brilliant trumpeter Freddie Hubbard and a stunning rhythm section, Dolphy is at a peak of energy and creativity on alto saxophone, bass clarinet, and flute. He and Hubbard work with empathy reminiscent of the young Parker and Dizzy Gillespie. Pianist Jaki Byard, bassist George Tucker, and drummer Roy Haynes were ideal accompanists and co-conspirators in this widely influential work. This edition of Outward Bound contains two alternate takes and "April Fool", a piece not on the original album.
With Freddie Hubbard, Jaki Byard, George Tucker and Roy Haynes.
"I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger."
---Rudy Van Gelder
* Chris Clough - Project Assistant
* Esmond Edwards - Supervisor
* Neil Tesser - Liner Notes
* Nick Phillips - Reissue Producer
* Rikka Arnold - Project Assistant
* Ron Eyre - Liner Notes
* Rudy Van Gelder - Author, Engineer, Remastering
* Stuart Kremsky - Reissue Production Assistance
* Terri Hinte - Project Assistant
Eric Dolphy was already in his thirties when he recorded his first date as a leader, though he had a startling impact as a multi-reed player with a distinctive sound on each of his instruments. Joined by a first-rate group of musicians, including the brilliant pianist Jaki Byard (who also worked along side Dolphy in Charles Mingus' group), the promising young trumpeter Freddie Hubbard, bassist George Tucker and drummer Roy Haynes, Dolphy wields each of his axes with an innovative sound. On alto sax, he builds upon the foundation of Charlie Parker, though he remains more accessible than Ornette Coleman with his reference to chordal structure. His angular original "G.W." provides a driving introduction, while his upbeat "Les" finds him stretching his instrument even more. Dolphy's flute playing has long been underrated and he doesn't disappoint with his moving take of "Glad to Be Unhappy" and the adventurous "April Fool" (which was omitted from the original album and previously issued on the anthology Here and There). Dolphy was hardly the first jazz musician to play the bass clarinet, but he was the first to give it a prominent role as a major solo voice, particularly in a small group. His vocal-like solos in the amusing "Miss Toni" and the chugging, infectious interpretation of the standard "On Green Dolphin Street" demonstrate that this reed normally relegated to providing background color had far greater potential when in the hands of a virtuoso willing to experiment. In spite of his youth, Hubbard's solo and ensemble work is very polished, while Byard proves invaluable in his support of the front line, as well as contributing terrific solos. This new edition of Outward Bound, beautifully remastered in 24-bit resolution by the legendary Rudy Van Gelder (the original session engineer), is well worth acquiring, whether or not one possesses earlier editions of this landmark recording.
---Ken Dryden, All Music Guide |
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