The Out To Lunch Quintet | Live at the Artists' Quarter

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Live at the Artists' Quarter

by The Out To Lunch Quintet

An acoustic post-bop, avant-garde jazz quintet with woodwinds (bass clarinet, flute and alto sax), trumpet, vibes, bass and drums performing the music of Eric Dolphy. Featuring virtuoso exciting free jazz improvisation recorded live at a jazz club.
Genre: Jazz: Free Jazz
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  Song Share Time Download
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1. Hat and Beard
11:32 $0.99
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2. Something Sweet, Something Tender
8:59 $0.99
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3. Gazzelloni
10:14 $0.99
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4. Out To Lunch
8:14 $0.99
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5. Straight Up and Down
10:22 $0.99
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6. Far Cry
8:55 $0.99
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7. The Prophet
11:54 $0.99
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8. Rush Hour
6:47 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Liner Notes:

The Out To Lunch Quintet (OTLQ) was formed to perform the music of the late, great Eric Dolphy. Although originally organized for a single concert event in early 2006, the significance of keeping this music alive, coupled with popular demand to hear Dolphy’s tunes, has kept OTLQ going. This is their first recording as a quintet.

In his tragically short life, Eric Dolphy became a master musician who excelled as a performer, arranger, and composer. Mingus considered Dolphy his most talented interpreter; Coltrane described him as the only horn player he could conceivably play with as an equal. In 1964, Dolphy recorded Out To Lunch, an album deeply rooted in the avant-garde. The time signatures were unusual, and Dolphy’s solos were as dissonant and unpredictable as anything ever recorded. Out To Lunch influenced a generation of jazz players and became a cornerstone in the modern jazz movement. It remains fresh and daring and is regarded not only as Dolphy’s finest recording, but as one of the greatest jazz recordings. Dolphy died in Berlin from diabetes on June 29, 1964, weeks before Blue Note released Out To Lunch. He was 36 years old.

Dolphy’s tunes are rarely covered today. They are not often performed because they are difficult; the forms are unique. This is not the kind of material players can pick up while casually flipping through the “Real Book.”

Sometimes you don’t know what you’re missing until you get a taste. In early 2005, I got a taste of Dolphy’s music played live. I went into the Artists’ Quarter in St. Paul, Minnesota, to listen to Eric Kamau Gravatt’s band Source Code. That night, vibraphonist Dave Hagedorn brought in a chart he had transcribed for Dolphy’s “Hat and Beard.” The chart was new to the band, and the material challenging, but the sound knocked me out. I spoke with Hagedorn during a break and asked if he would be interested in putting together a group performance of all the tunes from Out To Lunch. He was excited about the prospect. Subsequently, the Twin Cities Jazz Society board agreed to sponsor the event as part of its annual concert series. Dave assembled an ensemble of the area’s best musicians including himself on vibes, Kelly Rossum on trumpet, Phil Hey on drums, Tom Lewis on bass, and multi-instrumentalist Dave Milne on alto saxophone, bass clarinet, and flute.

On February 17th, 2006, despite a driving snowstorm and bitter cold, the Twin Cities Jazz Society’s “Jazz from J to Z” Concert Series installment “Still Out To Lunch: The Music of Eric Dolphy Live” was an unqualified success. Before an enthusiastic crowd at St. Olaf College in Northfield, the quintet performed all the music from Out To Lunch. The performance was superb and full of passion.

The band was eager to keep the project going. JazzPolice.com and Kenny Horst at the Artists’ Quarter in St. Paul agreed and decided to record it live. On June 2nd and 3rd, OTLQ performed Out To Lunch again at the Artists’ Quarter, expanded it with other Dolphy works, and added an original tune by band member Rossum, “Rush Hour.” Jazz is a living thing; as musicians respond to each other, they also feed off the energy of the crowd reacting to the music. On those two nights in June, the Artists’ Quarter was electric with excitement and the band was stellar. This recording captures that excitement and preserves the beauty of the music.

Working with these musicians has been a profound pleasure for me. These are men who care about music and have the talent, discipline, and drive to make it happen. I am proud to be associated with them and this recording—one that truly captures the live-jazz experience and documents a seasoned ensemble performing significant music. Sit back and listen. Revel in the experience. This is music, this is live, this is jazz!


—Don Berryman, Publisher, Jazz Police
www.jazzpolice.com



The Out To Lunch Quintet: Musician Bio’s

Multi-instrumentalist David Milne is an accomplished and versatile performer, composer, and arranger in musical settings ranging from creative jazz, modern big band, and progressive popular styles to symphonic/orchestral, chamber music, and contemporary classical styles. Originally from Rochester NY, he earned a DMA in Saxophone Performance at the Eastman School of Music, an MM in Woodwind Performance and a BA in Music from the Indiana University School of Music. As Professor of Music at the University of Wisconsin-River Falls, he teaches applied saxophone, directs the UW-River Falls Jazz Ensembles, and teaches jazz-related courses. David Milne is a Selmer Saxophone Artist-Clinician.

Kelly Rossum: is gaining an international reputation as a creative force in the definition of modern jazz. It is difficult to describe his style as anything but unique; combining the traditions of swing, bop, and free jazz with the innovations of electronica, ambient, and trance music. He has appeared on over 20 CD recordings as well as studio sessions for Asche & Spencer. His most recent release as a leader is titled Line, and Electropolis has recently released an eponymous CD. Visit www.krossum.com

David Hagedorn is an Artist in Residence in the Music Department at St. Olaf College in Northfield, MN, where he teaches percussion, jazz studies and world music. He earned a Doctor of Musical Arts degree in Percussion Performance from the Eastman School of Music, as well as various music-related degrees from the New England Conservatory and the University of Minnesota. His 2003 CD SOLIDLIQUID was released on Artegra Records. He studied with, and has toured nationally with, George Russell and appeared on Russell's recordings So What and The African Game.

Twin Cities bassist Tom Lewis, noted for his lyrical solos and musical versatility, can be heard all over town playing bebop, hard bop, free jazz and swinging standards. A long time member of Eddie Berger's "Jazz All Stars," Tom is currently a member of the Phil Aaron Trio, The Five and other projects. A composer and bandleader in his own right, Tom is regularly called upon to play with visiting jazz luminaries like Benny Golson, Mose Allison, Jim Rotundi, Slide Hampton, Lew Tabackin, Charles McPherson and others. Lewis also keeps busy as a sideman to Twin Cities musicians, as a clinician and as a recording session player.

Phil Hey has played with Charlie Rouse, Kenny Barron, Benny Golson, Benny Carter, Jay McShann, and many other Jazz Greats. He played and toured with Dewey Redaman for over twenty years. Hey studied extensively with Ed Blackwell and Marv Dahlgren. He is now on the faculties of The University of Minnesota and Macalaster College. Hey released his first recording as a leader in 2005 ("Subduction", Artist's Quarter records) after appearing on more than 60 as a sideman. He was named "Jazz Musician of the Year, 2006" by the Twin Cities "City Pages".

JazzPolice.com is a jazz and travel information website. JazzPolice.com has a mission of promoting the best of live jazz in local communities nationwide, particularly for travelers. This service is of benefit to traveling jazz fans that are looking to enjoy great live jazz when on the road. It also helps local jazz clubs and restaurants by sending more out-of-town dollars to their businesses. By helping people find live music we hope to help increase demand for live jazz so, as Dewey Redman recently said, “musicians can keep appearing and stop disappearing”. www.jazzpolice.com

The Artists' Quarter is a musician owned and operated jazz club that has been a Twin Cities institution since it first opened in Minneapolis in the '70's. It has great sight lines, a great sound system, and a loyal following. The Artists’ Quarter is located at 408 St Peter Street St. Paul, MN 55102, Phone number (651) 292-1359. www.artistsquarter.com

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Reviews


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Britt Robson, City Pages

Passionate avant-garde-meets-tradition purée
... Dolphy's time signatures and the floating rhythms, gusty momentum shifts, and passionate avant-garde-meets-tradition purée that poured out of the all-star quintet he assembled more than 40 years ago is no mean feat to approximate—and that's assuming you've got quality, sophisticated players on bass clarinet, flute, and vibraphone to call upon in the first place. Originally a one-gig affair, the OTLQ generated so much creative fun that they did it again over two nights in June at the AQ with the recording equipment on.
...
On The Out to Lunch Quintet: Live at the Artists' Quarter, Dave Milne does yeoman service trying to fill all three of Dolphy's Herculean shoes on alto sax, bass clarinet, and flute. Bassist Tom Lewis is a revelation—the best I've heard him on record—especially on the first two tracks that really stamped Dolphy's OTL as a masterpiece. Phil Hey admirably splits the difference between his own nuanced Ed Blackwell-oriented style and the torrid attack of Tony Williams on drums. Kelly Rossum is a worthy trumpet player in the Freddie Hubbard mold and contributes the lone non-Dolphy track at the end of the disc. And Dave Hagedorn, like Lewis, seems particularly inspired, putting forth the sort of percussive gusto that Bobby Hutcherson brought to the original.
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Andrea Canter, Jazz Police

Timeless Art Reborn: The Out to Lunch Quintet, Live at the Artists Quarter
The first five tracks of OTLQ Live at the AQ follow the sequence of Dolphy’s OTL, but faithful reproduction ends there. The opening track “Hat and Beard” sets the stage for all that follows: Great lines on bass clarinet from Dave Milne are supported by an underlying foundation from Tom Lewis; Dave Hagedorn picks up the momentum briefly before Kelly Rossum charges in; the horns engage in a series of repeated phrases with a bouncing rhythm managed throughout by Phil Hey. Hagedorn is a magician while Lewis is the heartbeat (particularly on his long solo), Hey the pumping heart. It’s easy to see why Dolphy said he was thinking about Monk when he wrote it.
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Chris Riemenschneider, Minneapolis Star Tribune

appeals to Dolphy's would-be masses
Unlike a lot of projects in which jazz diehards get together to pay tribute to a relatively obscure legend, the all-star local ensemble that performed Coltrane peer Eric Dolphy's most celebrated album at the AQ in June didn't geek out with their arrangements or turn to the avant-garde. This eight-song collection (including one original by Kelly Rossum) appeals to Dolphy's would-be masses with a wistful and elegant set anchored by David Milne's reed work and Dave Hagedorn's ear-candy vibes.
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JazzIprov Magazine

Tom Lewis and Phil Hey are truly a great rhythm team. “Out To Lunch” has a certa
By Dan Bilawsky

While it might be considered a bit of jazz heresy, I have to start things off by admitting that I have never been drawn in by the majority of the songs on Eric Dolphy’s Out To Lunch. I have never completely understood why, since all of the musicians on the album are favorites of mine and I have fairly eclectic and adventurous tastes. It certainly puts me in the minority of jazz writers who don’t love this album. Out To Lunch is considered to be a cornerstone of the “new” jazz, which isn’t so new several decades later. It is seen by many as Dolphy’s masterpiece. Despite many attempts to re-explore this album, I have always been slightly put off by a lot of the music, with “Gazzelloni” and “Straight Up And Down” being the two exceptions. Looking beyond these initial statements, I must say that I’ve always been enamored by Dolphy’s playing and skills, as a multi-instrumentalist, and enjoyed many other recordings that he worked on. I have a deep respect for his compositional skills and adventurous spirit. A recording like Live At The Artists’ Quarter showcases the works from this album, with a few other Dolphy tunes and one original thrown into the set. The Out To Lunch Quintet, to their credit, manage to stay fairly loyal to Dolphy’s musical creations and, surprisingly given my previous attempts to really dig into Out To Lunch, draw me into the music and give me a real appreciation for these songs. The little things really help the music to take on a different shape. “Hat and Beard” swings a bit more, and isn’t as militaristic, during this interpretation. The slightly looser and more organic feel, created by Tom Lewis on bass and Phil Hey on drums, makes all the difference. The original recording of “Something Sweet, Something Tender” was a bit darker and moodier than the interpretation on this album. Dave Milne, who does an excellent job in the Eric Dolphy role on the album, has a thinner tone than Dolphy, and Tom Lewis doesn’t make things as stormy as Richard Davis did. The tone of the record, while nailing all of the songs, is a bit brighter than the original work. This might be why I am more inclined to listen to these Dolphy interpretations than the originals.


I could spend this entire review comparing the old and the new, but I am more inclined to speak about the specific merits that come from this live recording. “Gazzelloni” is one of the catchiest songs on the album, and Milne’s flute and Kelly Rossum’s trumpet work well together here. Dave Hagedorn does a great job gelling with Lewis and emphasizing the harmonic make-up of the piece. Tom Lewis and Phil Hey are truly a great rhythm team. “Out To Lunch” has a certain buoyancy, provided by this duo, which helps to lift the rest of the ensemble. Rossum’s energetic, punchy trumpet work, mid-track, is smile inducing. Hey has an opportunity to stretch out near the end of this one and he makes good use of his solo space. The quirky melody of “Straight Up And Down,” which opens and closes the tune, is handled very well. “Far Cry” makes one automatically think of Dolphy’s association with Booker Little, and it’s nice to hear Rossum, in the Little role, stretching out a bit. Milne builds things up to a frenzy during his solo and keeps the energy high. Hagedorn’s unaccompanied vibraphone solo is wonderfully eerie and the whole band joins in after to finish the song. “The Prophet” has received treatments from Terence Blanchard, Oliver Lake, Andrew Cyrille and several other first-rate musicians. This quintet acquits itself well on what is one of the more conventional Dolphy tunes on the CD. Rossum’s “Rush Hour,” which is the only original on the album, features some great vibes soloing from Hagedorn. This up-tempo burner is complete with horn and fire engine noises to simulate the sounds of a real rush hour commute. It sounds, compositionally speaking, like a cross between Dolphy and Ornette Coleman. The Out To Lunch Quintet should be applauded for their outstanding interpretations of Eric Dolphy’s work and they certainly opened my ears to some of this classic material.
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Grego Applegate Edwards, Cadence Magazine

Everybody sounds idiomatic and on occasion inspired. It’s all good.
"... trumpet, sax and vibes collectively solo in and out of time with the rhythm section commenting on the intervallic relations in the tune and with each other, a fast tumbler with a three way dialogue, or five if you like. ... played with connoisseur’s attention to detail."
- Grego Applegate Edwards, Cadence Magazine, www.cadencebuilding.com
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Mark Anderson

Stellar performances
The concept, performances, and dedication that went in to this recording makes it a must have for those of us who like a taste of the avante garde. However, this might be fairly difficult music for the average listener. Not exactly tuneful. Let's say you probably won't be whistling these tunes while puttering around the garden.
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