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ARCHIVES CLASSIC INTERVIEWS

In Tribute: Eric Dolphy, 19281964

It seemed so unreal to me when I heard the news. You know how it is when you hear that a guy you know died unexpectedlyyou start thinking about what you said to him, and what he said, the things you did everything like that.

Those words are Elvin Jones, but they express the reaction of many musicians when they heard that Eric Dolphy had died in Berlin, Germany, on June 29. The quiet-spoken reed artist was a warm friend to many musicians and deeply impressed almost everyone with whom he came in contact, even those who did not agree with his approach to jazz. Eric was warm in his personality, said Jones, who, as the drummer in the John Coltrane Quartet, played with Dolphy on several occasions when Dolphy worked with the group. Not outgoing especially, but he always got along with everybody. He was very conscientious and almost meticulous. Many musicians did not understand Eric and were critical of his work, commented Gunther Schuller, who at concerts and recording dates, as well as co-conductor of Orchestra U.S.A, of which Dolphy was a member, often worked with Dolphy. I could never understand, for example, how perfectly respectable musicians could say that Eric didnt know his changes. They could never have heard his Stormy Weather with Mingus or dozens of other live and recorded performances. Like any mature, creative musicians, Eric was not unduly disturbed by such comments. It was his nature to turn everythingeven harsh criticismto some positive, useful purpose. In the seven or eight years I knew Eric, I never Heard him say a harsh word about anything or anybody connected with music. This was a sacred territory to him, and I think he sincerely believed that anything as beautiful as music could only produce more beauty in people. Bassist Richard David, in tribute to his closest friend, said, Eric was a beautiful people. Even when he didnt have enough for himself, hed try to help others. I remember how he once bought groceries for a friend who was out of work, though he was just as much in need himself. George Avakian, manager of Orchestra U.S.A. and the producer of one of Dolphys last records, Conversations, also commented on Dolphys humanity: Erics kindness extended to the way he faced the one big disappointment of his life: the fact that somehow he had not caught on with a big enough section of the jazz public to be able to make a decent living from his music. Lesser musicians borrow from his bag to get jobs he couldnt get. But Eric never had a harsh word for anyone who might have given him work but didnt. He knew he had to play as he felt was right. Time would have given Eric his proper recognition and reasonable financial success. His day would have some as surely as the pages peel off the calendar. But Eric ran out of pages. As a person, he was thoughtful, gracious, and genuinely interested in others. The world has never been hospitable to such people. It may not be too romantic to suggest that Eric Dolphy, who lived in a world less kind and gentle than he, died, perhaps, of the one thing he would not admit to but was

Eric Dolphy

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entitled to havea broken heart. As much as his personality had touched those who knew him well, it will be Dolphys music that will have the more lasting effect on musicians. Although he rarely spoke about his music and what he was striving for, Jones said, you could see what he was doing. He was just brimming over with ideas all the time. In fact, that was probably his biggest problem he just had too much to say, and this would occasionally get in the way of his saying it. But he was getting to the point where he could control things; he was attaining the self-discipline necessary to get everything together, to order it, getting more logical. The last time we played together, I noticed this, that he was better organized in his musical thinking. I think what made him unique was the tremendous confidence in his music. I never heard him hesitate in his playing. He was always readyif you wanted to play, he was there. Never faltered. He just had this supreme confidence, and I dont mean he was overbearing or arrogant. He was always ready, confident, waiting. Davis said, He was very influential in the avant-garde movement. He was one of the forerunners in that area. I was fortunate to work with him quite a bit, and he had a definite influence on me. I rate him a genius. I knew what was inside his music; I was familiar with it and how he put it together. But I think that even people who didnt have the opportunity to get close to Erics music could appreciate the tremendous feeling there was in his playing. Drummer Max Roach, with whose group Dolphy had recorded and played in public, said, Its too bad that circumstances took him away before he fully realized his potential. Avakian pointed out that Dolphy was a splendid musician to work with, that he was consistent, thoroughly professional, and brilliantly capable. Eric never stood still with him music, Avakian continued. He continually practiced and studied during the too-long stretches between gigs. In retrospect, Eric Dolphy will be recognized as the father of the new thing. Dolphys approach to music was summed up by Schuller: Eric was one of those rare musicians who loved and wanted to understand all music. His musical appetite was voracious, yet discriminating. It extended from jazz to the classical avant garde and included, as well, a genuine appreciation of his older jazz colleagues and predecessors. He was as interested in the complex, sonic surfaces of Xenakis, the quaint chaos of Ives, or the serial intricacies of Babbitt as in the soulful expressivity of a Coleman Hawkins, the forceful messages of Charles Mingus, or the experiments of the new thing. I think Eric would have been completely happy if he could have devoted every waking minute to the performance of all these musics. As it was, circumstances did not permit him to freely explore the vast untapped resources of his talent. And now death has stilled this searching, questing, gentle, positive, uncompromising soul forever. There was so much he still wanted to accomplish in order to live up to his ideal of the total musician In time, his full contribution to music will be properly assessed. For now, we can only bemoan the loss of such a powerful musician, who even in his lesser moments never did anything with less than the maximum of intensity and devotion. But perhaps the most heartfelt statement was made by Dolphys longtime musical associate and close friend, tenorist John Coltrane: Whatever Id say would be an understatement. I can only say my life was much better by knowing him. He was one of the greatest people Ive ever known, as a man, a friend, and a musician.

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