A playful free
piece in tribute to Thelonious Monk, though lacking any piano, has a strong
walking bassline played by Richard Davis and the rest of the band. Bobby
Hutcherson’s vibes are perfect here, representing quirky, piano-like sound and the needed
dissonance comes from the chorus. Dolphy solos first on his bass clarinet,
squeaking, scratching, and employing other forms of dissonance while Richard
Davis lays down a groovy bassline and Tony Williams swings away, in a strange
march-like rhythm. Hutcherson’s input comes in the form of background on the vibes, and
all the while Dolphy keeps on blowing. After his solo, Freddie Hubbard comes in
and another bass figure is represented, sounding almost “Spanish,” and Hubbard
shows that he can handle himself in the commanding, difficult post-bop, free
jazz world of the 1960s. Meanwhile, Williams speeds things up, Hutcherson’s
seemingly misplaced vibes kick in, and Hubbard continues blowing his trumpet in
all sorts of runs, sounding boppish at times, but Hutcherson takes over in a
series of disjointed notes while Davis continues in a similar bassline,
possibly using a bow and Williams seems to be using mallets instead of usual
drumsticks. Hutcherson’s quirky, almost disjointed playing seems completely
random, but goes well with Williams’ drumming, and the ominous bassline of
Davis kicks in alone. Though Monk distanced himself from free jazz for its
atonality in the 1960s, I like to think he loved hearing this number, so
playful, featuring collective improvisation, and a jazz portrait of a legend.
Dolphy’s jarring solo, which sounds like he’s enjoying himself and the
voice-like sounds he emits, is not too hard on the ears like some free jazz,
and Hubbard’s solo is within that ill-defined territory between bop and free
jazz, is also having fun with the runs evocative of bop, Spanish themes, and
the dissonances one associates with Monk.
Personally, Hutcherson and Dolphy
steal the show here, with the former’s child-like innocence on the vibraphone,
accompanied by Williams’ inventive drumming and bowed bass from Davis, keeps
one on one’s foot. My favourite moment may be those two long, high-pitched
wails in the beginning of Dolphy’s solo, a feature of free jazz I sometimes
especially enjoy: fun little notes and sounds almost randomly assorted or
seemingly incongruent. Richard Davis, a professor at UW-Madison I have had the pleasure of meeting, deserves praise for his arco and pizzicato bass playing, keeping the song from falling apart as each soloist takes off into different directions and Tony Williams experiments with the rhythms. This is otherworldly, and, though vastly different from anything Monk ever recorded, shares his playful spirit and dissonance. Moreover, Williams gets down with Hutcherson, playing some interesting rhythms, an indication of the young drummer's prowess and ability to keep up with older, more established musicians. Fans of this will probably like "Straight Up and Down" from the same album, which evokes a drunken stagger with another disjointed, melody. Dolphy's brilliant, wailing solo does sound like a pathetic, drunkard, falling through the streets while the rest of the band keeps things going during the twists and turns of the drunken protagonist. Indeed, these two tracks, my favorites from the album, Out To Lunch!, are necessary listens for any and every fan of jazz.
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