The feeling of uncertainty seeps through the instruments in all of the tracks, and it makes for a very interesting but not always enjoyable listen. It feels like a train going too fast around a corner on the edge of a cliff, shaking while turning, but still pulls through. This record has a very unstable feel to it. The piano and bass are solid for holding down the format of the song and giving space for the melody instruments to shine. The volatility of the drums mix perfectly with the erratic tone of the melody, giving a sense of uncertainty and unpredictability. Aside from the spectacular melodies and improvisations, the rhythm section of the quintet is also absolutely amazing. Dolphy truly flexed his compositional muscles, using almost all the different types of jazz scales and techniques, as well as phenomenal improvisation during solos by the flautist, the trumpet player, as well as his own alto sax on tracks 4 & 5. ![]() ![]() Out to Lunch! is full of very technically advanced and intricate instrumentation. This review is going to be more about technical instrumentation and dynamics rather than the cultural impact, although the album was very important for its time. Out to Lunch! (1964) by Eric Dolphy is a very experimental jazz album. The History and Popular Music of the ’60s class learned about Eric Dolphy’s avant-garde jazz album, Out to Lunch! (1964).
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