Jazz Today: April 1, 1960 @ New York

Apr. 1, 1960 “On Green Dolphin Street”
by Eric Dolphy with Freddie Hubbard, Jaki Byard, George Tucker & Roy Haynes at Van Gelder Studio, Englewood Cliffs for Prestige (Outward Bound)

This is a performance of a song from the 1947 film “Green Dolphin Street” that became a jazz standard—a rare choice for Eric Dolphy, who wrote many original compositions and sadly passed away at 36 despite his overflowing talent, technique, and individuality. Perhaps it was a favorite of his, as he performed it frequently. I let my imagination run wild, wondering if he felt a sense of kinship with the song because Dolphy was playing “Dolphin.”

Originally a bright song with a refreshing melody and a sense of exhilaration, it is a piece I find myself wanting to listen to from spring to early summer. However, being the originality-focused artist he was, Dolphy gives it a unique arrangement filled with idiosyncrasies, and his use of the grotesque and unbalanced bass clarinet is quintessentially Dolphy-esque in its bold approach. Incidentally, while this was his debut album, it is surprising to hear such a masterful performance already brimming with originality.

Stereo recording technology was also evolving; the trumpet is positioned on the left, while the drums and bass clarinet are on the right. Hubbard’s trumpet, usually brilliant, has a tone here that sounds slightly muted—perhaps another one of the extraordinary production choices that Dolphy used to express his individuality.

After the 57-second mark, Dolphy enters into a whimsical improvisation, but the rhythm section does not get dragged along, continuing to keep the same rhythm as the opening theme melody; this “rhythm keeping” is truly a highlight to listen for. Drummer Roy Haynes is the type of player who usually changes rhythms in a kaleidoscopic fashion, so the fact that his improvisation is kept to a minimum here is also quite unusual.

George Tucker’s powerful bass, which creates a sense of dynamism in the rhythm throughout and takes a solo at 4:00, has a freedom to it throughout the piece, acting as an excellent, spicy addition. Also, the surprise rim shot from Haynes, captured vividly at 4:52, is another highlight.

The ending is also uniquely Dolphy-esque. While it is a common jazz performance pattern to intentionally apply an unusual arrangement to a well-known popular song, Dolphy’s strange individuality leaves a lasting impression.

Among these highly individualistic players, Jaki Byard’s piano, which sounds buried in the background due to its modest volume, is actually the most unique. His way of taking short, choppy backing phrases, his harmonies, and his sense of timing are all very unique, and following them is another way to enjoy this performance. You are startled by the final irregular piano phrase and realize it, but it is already too late. This allows you to enjoy the pleasure of listening to it all over again from the beginning. I believe that a performance like this, which reveals more the more you listen to it, is one of the criteria for a masterpiece.

Byard and Dolphy were also allies in the Charles Mingus band, and the performance shows their great compatibility, as they understood each other’s personalities and characteristics and combined them well.

If you like this song, there is an article that introduces various versions by different artists, so please take a look. Comparing them like this shows that not only this song, but many of them are quite unique.

Finally, for those who want to enjoy Roy Haynes, a representative of the black jazz drumming tradition, even more, please enjoy this masterpiece where he performed with Dolphy and Bill Evans.