英語レビューや、本品の他ページレビューにもある通りでドルフィ吹きまくっております。この年の晩夏は一人の渡欧でバンドメンバーは都度調達でしたが、本作はとにかくドルフィが好調でその辺はあまり気になりませんでした。プレステージのインヨーロッパもこの渡欧で出来てますね。
演奏は8月30日の2箇所でのライブを集めて2枚組LPにしております。ということは、まだまだ録音があるような気もします。短い3曲(GBC、GeeWee、The Meeting)はホールでのコンサート。このホールコンサートの録音がまだまだあるような気がしてなりません。
近年のコルトレーンの発掘のように楽しみにしたいと思います(といいつつ20年待ってますが)。本品は素晴らしいのですが買い控えもありなので星4。
しかし二箇所ともステレオで録れているのは実に貴重です。ドルフィの欧州というとミンガスとの演奏も含めてたいがいモノラルですから。やはり星5。
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Berlin Concerts
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ページ 1 以下のうち 1 最初から観るページ 1 以下のうち 1
曲目リスト
1 | Hot House |
2 | When Lights Are Low |
3 | Geewee |
4 | God Bless The Child |
5 | Hi-Fly |
6 | The Meeting |
7 | I'll Remember April |
登録情報
- 製品サイズ : 14.3 x 12.5 x 1.19 cm; 96.1 g
- メーカー : Enja
- EAN : 0767522300727
- レーベル : Enja
- ASIN : B000005C6C
- 原産国 : アメリカ合衆国
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 210,310位ミュージック (ミュージックの売れ筋ランキングを見る)
- カスタマーレビュー:
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2024年4月8日に日本でレビュー済み
チコちゃんバンドを離れて以来、エリック・ドルフィーはチャールズ・ミンガスやオーネット・コールマン、ブッカー・リトル、マックス・ローチらと共演しながら、新しいジャズの可能性を探る日々を送った。ファイヴ・スポットにおける歴史的なライヴを終えたドルフィーは新天地ヨーロッパに向かう。ヨーロッパにおいても連日ライヴとレコーディングを続けているが、ヨーロッパのミュージシャンがミンガスやコールマンのようにプレイできるわけもない、彼らはかろうじてジャズが演奏できる程度の水準にしかない。そうだとすれば、ヨーロッパにおけるライヴがブルースとスタンダードを中心としたジャム・セッション以上のものになりえないことは必定であった。61年8月30日のベルリン・コンサートにおいてもGWや245(The Meeting)のようなドルフィーのオリジナルも取り上げられてはいるが、「4月の想いで」などのスタンダードが中心となっている。新しい音楽を生み出そうと、焦りにも似た思いでプレイするドルフィーの緊張感はここにはない。だが、これほどリラックスしたドルフィーを聴ける場もまたないのだ。バスクラ・ソロによるGod bless the Childが素晴らしい。次はEric Dolphy, Uppsala Concert。
他の国からのトップレビュー
Jazzrook
5つ星のうち4.0
An overlooked Eric Dolphy album recorded live in Berlin, 1961.
2020年10月6日に英国でレビュー済みAmazonで購入
This excellent but little-known live album by the great jazz multi-instrumentalist Eric Dolphy(1928-64) was recorded in two locations in Berlin on August 30, 1961.
With Dolphy(alto sax, bass clarinet, flute) were Benny Bailey(trumpet); Pepsi Auer(piano); George Joyner aka Jamil Nasser(bass) & Buster Smith(drums).
The seven memorable tracks include two Dolphy originals, one each from Tadd Dameron, Benny Carter, Billie Holiday & Randy Weston plus one standard.
Highlights are an impressive 19-minute version of Dameron's 'Hot House' and a wonderful bass clarinet solo on 'God Bless The Child'.
Although the rhythm section is not ideal, Dolphy is in thrilling, inventive form assisted by Benny Bailey on some tracks and the overlooked 72-minute 'Berlin Concerts' is a fine introduction to Dolphy's playing.
With Dolphy(alto sax, bass clarinet, flute) were Benny Bailey(trumpet); Pepsi Auer(piano); George Joyner aka Jamil Nasser(bass) & Buster Smith(drums).
The seven memorable tracks include two Dolphy originals, one each from Tadd Dameron, Benny Carter, Billie Holiday & Randy Weston plus one standard.
Highlights are an impressive 19-minute version of Dameron's 'Hot House' and a wonderful bass clarinet solo on 'God Bless The Child'.
Although the rhythm section is not ideal, Dolphy is in thrilling, inventive form assisted by Benny Bailey on some tracks and the overlooked 72-minute 'Berlin Concerts' is a fine introduction to Dolphy's playing.
Joe Pierre
5つ星のうち5.0
Dolphy does Berlin
2006年3月11日にアメリカ合衆国でレビュー済みAmazonで購入
There's little question that Dolphy's time on the planet was too short, and the number of performances captured with tapes rolling too few, so that almost everything in the Dolphy catalog is kind of special. In 1961, Dolphy was recorded more extensively while on tour, whether stateside for the immortal Five Spot stint in July with Booker Little and co., or later in Europe for the Copenhagen and then Stockholm tours in September, or here for the "Berlin Concerts" in August (oh yeah, and don't forget the Village Vanguard dates with Coltrane in November). You can hardly argue the greatness of the Five Spot pairings with Little and bandmates Mal Waldron, Richard Davis, and Ed Blackwell -- and it's true that able sideman support was lacking for the European concerts, with most of the critical nod going to the Copenhagen run (recorded as the three-volume "In Europe" series on OJC). But the Berlin Concerts are under-rated and in the abbreviated Dolphy bag, well worth owning!
So, what do we have here? "Berlin Concerts" was taken from two gigs at the Funkturn Exhibition Hall and the Club "Jazz Salon" in Berlin on August 30, 1961 and features Dolphy with what even the liner notes describe as the "very straight-forward rhythm section" of drummer Buster Smith, bassist Jamil Nasser, pianist Pepsi Auer, and trumpeter Benny Bailey. And, unlike the scandalously short-shrifted 30+ minutes of music on each of the OJC "In Europe" discs (why the heck doesn't OJC re-release this with some consolidated packaging!?), everything's sandwiched together here for over 70 minutes of live Dolphy doing some extended blowing on all three of his virtuoso horns (flute, alto sax, bass clarinet).
The first track has Dolphy on alto sax, playing some clearly Parker-esque runs on Tadd Dameron's "Hot House," even going so far as throw in Bird's "Pop the Weasel" quote in the intro. Both Bailey and Auer are given generous solo space in the middle of this 20-minute number before Dolphy returns for a vigorous exchange in the end. It's clear that he's speaking a more advanced language here, as it is on the rest of the album. Track two has Dolphy on bass clarinet, doing the familiar "When the Lights Are Low" sans piano or trumpet. The pace is a bit slower than the first track, but alone in the spotlight, Dolphy gets into some of his more trademark explorations on what I consider his signature instrument. He's a little off-mike here, but it's pretty great stuff nonetheless, though near the end, he sounds a little haphazard. Track 3 is a tight group exploration of Dolphy's own "Geewee" -- this time recorded at the noticeably more spacious and therefore airy sounding Funkturm. The group plays the theme, Dolphy blisters through his solo on alto, Auer takes a brief one, and the group returns together before concluding at 2:47. Track 4 is the requisite bass clarinet solo version of "God Bless the Child," again sounding echo-ey in the concert hall and maybe just a little rushed (I concede it's true that the Copenhagen and even Illinois Concert versions are a bit better), but that's not to say that this isn't some pretty radical stuff for 1961 (bass clarinet solo!?). Track 5 finds Dolphy on flute for another trio number, this time on the 15-minute "Hi-fly." Joyner solos on bass in the middle, but the rest has Dolphy playing the kind of pretty but complex lines that critics compared to birdsong and without piano and trumpet intruding, his voice is really out there in the open. Pretty fantastic. The last two tracks see a return of the quintet with Dolphy on alto, first with Dolphy's "The Meeting" (played at languid pace, with sequential solos by Dolphy, Bailey, and Auer) and then with the 13-minute "I'll Remember April" in which Dolpy rips through his solo, perhaps leading to Bailey finally matching him this time with a nice horn solo to follow.
Okay, so maybe the Five Spot dates, "Out to Lunch" or "Last Date" would be the place to start for Dolphy, and maybe "Berlin Concerts" is marred by a less-able band (I find myself kind of wishing they'd just finish already when they're soloing -- it's not that they're bad, it's just not special in any way when you're wanting to hear the bearded one) and some airy-sounding acoustics on the Funkturn numbers, but this is a mean concert that features a little bit of everything and Dolphy's in pretty excellent form. And at over 70 minutes of music, with Dolphy on flute, alto, and bass clari, I just can't understand why "Berlin Concerts" doesn't enjoy wider release and acclaim. By comparison, the early OJC studio dates (Outward Bound, Out there, etc.) are pretty sedate, much of the latter day large ensemble stuff (Candid, Ironman) is just a different kind of sound, and until the "In Europe" stuff get's repackaged (if it ever does), I'd say this a great live date to own.
So, what do we have here? "Berlin Concerts" was taken from two gigs at the Funkturn Exhibition Hall and the Club "Jazz Salon" in Berlin on August 30, 1961 and features Dolphy with what even the liner notes describe as the "very straight-forward rhythm section" of drummer Buster Smith, bassist Jamil Nasser, pianist Pepsi Auer, and trumpeter Benny Bailey. And, unlike the scandalously short-shrifted 30+ minutes of music on each of the OJC "In Europe" discs (why the heck doesn't OJC re-release this with some consolidated packaging!?), everything's sandwiched together here for over 70 minutes of live Dolphy doing some extended blowing on all three of his virtuoso horns (flute, alto sax, bass clarinet).
The first track has Dolphy on alto sax, playing some clearly Parker-esque runs on Tadd Dameron's "Hot House," even going so far as throw in Bird's "Pop the Weasel" quote in the intro. Both Bailey and Auer are given generous solo space in the middle of this 20-minute number before Dolphy returns for a vigorous exchange in the end. It's clear that he's speaking a more advanced language here, as it is on the rest of the album. Track two has Dolphy on bass clarinet, doing the familiar "When the Lights Are Low" sans piano or trumpet. The pace is a bit slower than the first track, but alone in the spotlight, Dolphy gets into some of his more trademark explorations on what I consider his signature instrument. He's a little off-mike here, but it's pretty great stuff nonetheless, though near the end, he sounds a little haphazard. Track 3 is a tight group exploration of Dolphy's own "Geewee" -- this time recorded at the noticeably more spacious and therefore airy sounding Funkturm. The group plays the theme, Dolphy blisters through his solo on alto, Auer takes a brief one, and the group returns together before concluding at 2:47. Track 4 is the requisite bass clarinet solo version of "God Bless the Child," again sounding echo-ey in the concert hall and maybe just a little rushed (I concede it's true that the Copenhagen and even Illinois Concert versions are a bit better), but that's not to say that this isn't some pretty radical stuff for 1961 (bass clarinet solo!?). Track 5 finds Dolphy on flute for another trio number, this time on the 15-minute "Hi-fly." Joyner solos on bass in the middle, but the rest has Dolphy playing the kind of pretty but complex lines that critics compared to birdsong and without piano and trumpet intruding, his voice is really out there in the open. Pretty fantastic. The last two tracks see a return of the quintet with Dolphy on alto, first with Dolphy's "The Meeting" (played at languid pace, with sequential solos by Dolphy, Bailey, and Auer) and then with the 13-minute "I'll Remember April" in which Dolpy rips through his solo, perhaps leading to Bailey finally matching him this time with a nice horn solo to follow.
Okay, so maybe the Five Spot dates, "Out to Lunch" or "Last Date" would be the place to start for Dolphy, and maybe "Berlin Concerts" is marred by a less-able band (I find myself kind of wishing they'd just finish already when they're soloing -- it's not that they're bad, it's just not special in any way when you're wanting to hear the bearded one) and some airy-sounding acoustics on the Funkturn numbers, but this is a mean concert that features a little bit of everything and Dolphy's in pretty excellent form. And at over 70 minutes of music, with Dolphy on flute, alto, and bass clari, I just can't understand why "Berlin Concerts" doesn't enjoy wider release and acclaim. By comparison, the early OJC studio dates (Outward Bound, Out there, etc.) are pretty sedate, much of the latter day large ensemble stuff (Candid, Ironman) is just a different kind of sound, and until the "In Europe" stuff get's repackaged (if it ever does), I'd say this a great live date to own.
Amazon Customer
5つ星のうち5.0
... Copenhagen Berlin parodies the wall God bless always eubillent Nice hard bop harmonies w/ trumpet Eric Clifford Brown of ...
2017年7月21日にアメリカ合衆国でレビュー済みAmazonで購入
Dolphys most superb on Copenhagen Berlin parodies the wall God bless always eubillent Nice hard bop harmonies w/ trumpet Eric Clifford Brown of jazz genuises Illinois concert w/ early funky Herbie also a treat
Amazon Customer
5つ星のうち5.0
Five Stars
2018年1月25日にアメリカ合衆国でレビュー済みAmazonで購入
Excellent!!!