Music of Eric Dolphy
John Jennings
I have always enjoyed the music of Eric Dolphy. His solos
are unique and easily recognizable (ie you can always tell
which solo was Dolphy's).
To my ears, Dolphy's solos are not exactly "free" in the usual
sense. I hear a definite harmonic and melodic structure,
-- even if it is definitely "out"!
But "out" is what I am having trouble understanding. I have read a
few sources (including Jost's _Free Jazz_) describing his music but
I have never been able to find a description of his approach in
musical terms. Only very vague kinds of descriptions.
Can someone tell me what I may be hearing in musical terms?
Fabio Rojas
The question was about what exactly is Dolphy doing in his solo's.
Warning: I'm not a professional musician so what I say is based
on a limited understanding of musical theory.
Well, in music there's this idea that certain sequences of harmonies
fulfill certain functions. For example, in blues certain chords
resolve into other chords at the very end of the standard 12 bar progression.
Furthermore, tones and (possibly) improvised melodies
usually fit into this scheme. For example, when improvising
on a "2-5-1" chord progression, it is expected that the phrase
"ends" or "lands" in the "1" or the end of the progression.
It is also expected that the certain tones are resolved in certain
ways.
What Dolphy does is play tones which are not normally associated
with a certain chord progression, in the same way that Charlie
PArker introduced a lot of dissonance into jazz improvisation.
Dolphy is playing notes that are not normally allowed by the standard
rule of harmony. Dolphy's phrasing is standard, but the harmonies
he uses are not. I know this is vague, but I wasn't sure what
level to put it at.
In a book I once read (a music dissertation on Trane) , I saw
a detailed analysis of an Eric Dolphy solo which I could
post to the net, if there is a demand for it.
Fabio
Gerrit Stolte
fro...@phnom-penh.berkeley.edu (Fabio Rojas) wrote:
>The question was about what exactly is Dolphy doing in his solo's.
>Warning: I'm not a professional musician so what I say is based
>on a limited understanding of musical theory.
>Well, in music there's this idea that certain sequences of harmonies
>fulfill certain functions. For example, in blues certain chords
>resolve into other chords at the very end of the standard 12 bar progression.
>Furthermore, tones and (possibly) improvised melodies
>usually fit into this scheme. For example, when improvising
>on a "2-5-1" chord progression, it is expected that the phrase
>"ends" or "lands" in the "1" or the end of the progression.
>It is also expected that the certain tones are resolved in certain
>ways.
Well, expectations are there to be left unfulfilled. I once had a
transcription of a Jerry Bergonzi solo, where all pjrases ended on the
b7. I would even :-) expect most phrases of any jazz musicians not to
land on the root, because it would be counterproductive in
creatin/building a solo.
>What Dolphy does is play tones which are not normally associated
>with a certain chord progression, in the same way that Charlie
>PArker introduced a lot of dissonance into jazz improvisation.
>Dolphy is playing notes that are not normally allowed by the standard
>rule of harmony. Dolphy's phrasing is standard, but the harmonies
>he uses are not. I know this is vague, but I wasn't sure what
>level to put it at.
>In a book I once read (a music dissertation on Trane) , I saw
>a detailed analysis of an Eric Dolphy solo which I could
>post to the net, if there is a demand for it.
Yep, here is one :)
Gerrit
"I don't know what he's playing, but it's not Jazz."
Dizzy Gillespie ueber Ornette Coleman
Alan Saul
In article <5ctelr$7...@fsgi01.fnal.gov>, jenn...@fsgi01.fnal.gov (John
Jennings) asked about Eric Dolphy's playing:
> Can someone tell me what I may be hearing in musical terms?
This is of course too deep a subject for any brief explanation. One of
several aspects of Dolphy's music that is probably most often mentioned is
his use of intervals. Most music tends to employ relatively small jumps
from one note to the next either in time (horizontally) or in harmony
(vertically). In order to make a melody line sound continuous and
integrated, one plays a sequence of small intervals that progress up and
down the scale giving a sense of flow. Dolphy tended to violate this in
many instances, playing larger intervals like 9ths, 12ths, 13ths, rather
than 2nds, 5ths, etc. In other words, he made octave jumps that usually
aren't made. This sounds a bit jarring, but with a bit of accomodation
sounds natural, since we adapt easily to octave jumps. The practical
aspect of doing this is important, since it is technically difficult to
play leaps like Dolphy made routinely. He spent years and years practicing
to develop this skill, and it was clearly thought out. As you noted, he
tended to follow the structure of a piece, but sounds out because of his
voicings. Taking God Bless the Child as an example, as illustrated
wonderfully in Roger Jannotta's transcription, Dolphy plays through the
original tune without missing a note, but inserts arpeggios and
ornamentation in a disciplined manner that extends the composition to
outer territories implied but not explicit in the original. He uses his
ability to create new sounds dramatically, achieving a climax about
halfway through the piece, then resolving to a serene conclusion.
There are lots of other things happening. Keep listening and provide your
own analyses.
--
Alan Saul
sa...@pitt.edu
http://farcry.neurobio.pitt.edu/Discographies/EDIntro.html
GJuke
>>>>Taking God Bless the Child as an example, as illustrated
wonderfully in Roger Jannotta's transcription, Dolphy plays through the
original tune without missing a note, but inserts arpeggios and
ornamentation in a disciplined manner that extends the composition to
outer territories implied but not explicit in the original.<<<<
Yes.
A sax player explained to me once that Dolphy was often playing extensions
of the harmonic structure (chord extensions over chords)...
For example, over a C chord or a C7, he might play the notes that make the
chord a C9, C11, or C13.
Kook-De-ville!
GJ
Tom Waters
In article <5ctelr$7...@fsgi01.fnal.gov>, jenn...@fsgi01.fnal.gov (John
Jennings) asked about Eric Dolphy's playing: :
: > Can someone tell me what I may be hearing in musical terms?
And Alan Saul (sa...@pitt.edu) answered:
: This is of course too deep a subject for any brief explanation.
Actually, I thought that Alan's brief explanation was pretty on target --
I think that he mentioned the very things that best explain why Dolphy is
so striking the first time you hear him. (I missed John's initial
question so I don;'t really know if what struck him is the same as what
struck me.)
I find it fascinating how such a simple things as Dolphy's departure
from our expectation of (quoting Alan's terrific formulation)...
: relatively small jumps
: from one note to the next either in time (horizontally) or in harmony
: (vertically) ...
produce such dramatic results. Even when we learn the explanation and the
music theory it rests on, it still feels like an alien force is gripping
us when we re-experience the music.
Just one of those little things that makes life great, I guess...
Tom
--
Thomas Waters
twa...@use.usit.net
1021 East Oak Hill Avenue, Knoxville TN 37917
Dig And Be Dug In Return
Alan Saul
In article <5dd9cn$69i$1...@news.usit.net>, twa...@use.usit.net (Tom Waters)
wrote:
> In article <5ctelr$7...@fsgi01.fnal.gov>, jenn...@fsgi01.fnal.gov (John
> Jennings) asked about Eric Dolphy's playing: :
>
> : > Can someone tell me what I may be hearing in musical terms?
>
> And Alan Saul (sa...@pitt.edu) answered:
>
> : This is of course too deep a subject for any brief explanation.
>
> Actually, I thought that Alan's brief explanation was pretty on target --
...
> Even when we learn the explanation and the
> music theory it rests on, it still feels like an alien force is gripping
> us when we re-experience the music.
Thanks for the kind words, Tom, but I don't think I gave an explanation of
Dolphy's music, and I don't think there is such a thing, in the sense that
one could fully understand it from some standard theoretical point of
view. I'm sure that's not what you meant, but I just wanted to take the
opportunity to back off from having people think I was explaining Dolphy
in terms of music theory. First, it can't be done in any really
satisfactory way, and second, especially by me who knows little about
music from a technical standpoint.
Having listened to Dolphy a lot, however, I don't personally get that
alien force image. One of the things I love best about his playing is how
natural it sounds to me. In fact, it's what I try to play (on the rare
occasions anymore) when I play, not because I'm trying to imitate him (and
I can't) but because it's what I hear as right.
I mention that to reinforce the notion that we all hear things
differently, to remind us that we should all bring our own "explanations"
to the music.
On the other hand, it is a wonderful exercise to think about what's going
on and try to explain great music. For Dolphy, the best source for this is
Vladimir Simosko, to whom I am completely indebted for his insights and
stimulation. I'd recommend to John Jennings and everybody else that they
read his book. I'd also be interested in hearing other people's analyses
of Dolphy's music, if they would continue this thread.
--
Alan Saul
sa...@pitt.edu
Tom Waters
Alan Saul (sa...@pitt.edu) wrote:
: Thanks for the kind words, Tom, but I don't think I gave an explanation of
: Dolphy's music, and I don't think there is such a thing, in the sense that
: one could fully understand it from some standard theoretical point of
: view. I'm sure that's not what you meant, but I just wanted to take the
: opportunity to back off from having people think I was explaining Dolphy
: in terms of music theory.
What I meant was that you explained what makes the music sound so
unexpected at the same time as it sounds "right" ie true to its own
internal logic -- not that you explained the music as a whole.
: First, it can't be done in any really
: satisfactory way, and second, especially by me who knows little about
: music from a technical standpoint.
What strikes me is how far a little bit of music theory can go sometimes.
: Having listened to Dolphy a lot, however, I don't personally get that
: alien force image. One of the things I love best about his playing is how
: natural it sounds to me.
I meant "alien" as in outside of me and my own will, rather than "alien"
in the sense of unearthly. I agree about the natural thing, but nature
often seems "alien" in the first sense especially when it is
overwhelming. Think Wordsworth!
: On the other hand, it is a wonderful exercise to think about what's going
: on and try to explain great music. For Dolphy, the best source for this is
: Vladimir Simosko, to whom I am completely indebted for his insights and
: stimulation. I'd recommend to John Jennings and everybody else that they
: read his book. I'd also be interested in hearing other people's analyses
: of Dolphy's music, if they would continue this thread.
I'll check them out.
GrahamCo
Let me try to add to what others have said........Eric's solo on Hot House
(Berlin Concerts) is a nice example of what one analyst called a collage
style; a variety of textures, timbres, and moods are explored and
juxtaposed. The solo has climactic moments, and also moments of humor and
rumination. This solo strikes me as not necessarily a beginning-middle-end
type of story, but it works nonetheless because the juxtapositions are
chosen judiciously, and are executed so masterfully.
I am a musician, so I know the changes to the tune, and one reason I love
this solo is because it transcends the changes without ignoring them. It
is not a series of arpeggios that slavishly follows the contours of the
changes; rather Eric expresses himself in a perfectly free manner and
goes about building a nice collage, and yet he is obviously totally aware
of the harmonic framework (while seemingly unhindered by it). This
approach is significantly different from what we might call "pure outside
playing". Let me add that one of the apexes of his carreer, and jazz,
occurred on "The Prophet" (live at the Five Spot, Vol. 1, 1961). Now THERE
is a stunning and beautiful display of passionate expressivity, humor,
lack of pretension, a sense of history,just about everything that makes
great music. I could go on for pages about the merits of that saxophone
solo.It is really a tour de force. I really love Eric's music and have
spent most of my life seaching out his recordings. sorry to
ramble....................
Tom Waters
GrahamCo (grah...@aol.com) wrote:
: Let me add that one of the apexes of his carreer, and jazz,
: occurred on "The Prophet" (live at the Five Spot, Vol. 1, 1961). Now THERE
: is a stunning and beautiful display of passionate expressivity, humor,
: lack of pretension, a sense of history,just about everything that makes
: great music. I could go on for pages about the merits of that saxophone
: solo.
No need to hold back!
GrahamCo
Okay, I will not hold back. Regarding Dolphy's solo on The Prophet:
the compositon is dedicated to his friend Richard Jennings, a painter
(whose paintings appeared on one Dolphy prestige album and also on one Max
roach album). Dolphy's improvisation here may very well have been a
conscious attempt to generate the sonic equivalent of some modern
painting aproaches; he was certainly inquisitive about such things.
In contrast to the Hot House solo I talked of before, this solo does
seem to have a definite beginnning-middle-end; the middle is demarcated by
the gentle switch into double-time by bass and drums, and back into "a
tempo" for the conclusion of the solo. I must point out the extremely
sympathetic support/dialogue provided by Ed Blackwell. He and Eric get a
great thing going. The overall stucture of this solo is such that the
switch to double time feels inexorable and perfectly natural. And I love
the "wail" figure that brings the rhythm section back to straight time.
Eric can be heard at the conclusion of the solo calling ( on his horn)
Booker Little to play : "Booker, Booker Little....
I admire someone who can wear their heart on their sleeve. There is no
posing here. more babbling on request graham
Signature Event Context
In <19970210082...@ladder01.news.aol.com> grah...@aol.com
(GrahamCo) writes:
>
>Okay, I will not hold back. Regarding Dolphy's solo on The Prophet:
>the compositon is dedicated to his friend Richard Jennings, a painter
>(whose paintings appeared on one Dolphy prestige album and also on one
Max
>roach album).
Ricard Jennings also painted the portrait of Monk on that date
w/Coltrane. (Also, Out There and Outwardbound.)
SEC