Chico Hamilton & Eric Dolphy - The Original Ellington Suite

This previously unreleased album by drummer Chico Hamilton--save three edited tracks that landed on anthologies--would never have been issued if not for dumb luck. Originally recorded for Pacific Jazz in 1958, this collection of such Ellington and Strayhorn pieces as "In a Mellotone" and "I'm Beginning to See the Light" was initially withheld from release by producer Dick Bock. Reissue producer Michael Cuscuna wanted to release it, but never found a tape in the Pacific Jazz vaults. Then a fan named John Cobley discovered a test pressing of the session in a record store in England in 1995, and eventually passed it on to Cuscuna. This reissue was digitally transferred from that LP.

That amazing story aside, the true value of this album is in its musical and historical relevance. It showcases a 30-year-old fast-maturing Eric Dolphy, two years away from gaining major recognition first with Charles Mingus, then with John Coltrane. Here, particularly on "In a Sentimental Mood," alto saxophonist Dolphy displays a deep Charlie Parker influence alongside his emerging unique solo approach that also drew on Ornette Coleman's free-wheeling expressions. "It Don't Mean a Thing" also mixes the two styles, though more of Dolphy's no-holds-barred style is present. He's also spotlighted on flute on "I'm Just a Lucky So and So" and B-flat clarinet on "Azure." Additional high points come from bebop-based guitarist John Pisano, cellist Nate Gershman, bassist Hal Gaylor, and the leader, who all combine with Dolphy to render these deluxe, intricate arrangements with grace and swing. Pisano and Gaylor are also standout soloists. --Zan Stewart Amazon.com

Thank Heaven for Happy Accidents!

Rediscovered only a few short years ago (see the critical review for that remarkable story), this 1958 all-Ellington program must rank as Eric Dolphy's finest work with his original bandleader Chico Hamilton, and thus an essential addition to the discographies of both men. With the reedsman featured on alto saxophone, flute and B-flat (rather than his usual bass) clarinet, THE ORIGINAL ELLINGTON SUITE announces the arrival of a unique jazz talent unchallenged to this day as the standard-bearer of all multi-instrumentalists. As always, Hamilton's distinctive reeds/guitar/cello/bass/drums arrangements fall alternately just within and just without the mainstream of classic jazz, with results so consistently tasteful and moving that the label's decision not to release this beauteous session at the time of its recording is as puzzling as it is outrageous. Dolphy's introductory alto sax wail on "In a Sentimental Mood" is reason enough to own this disc, but then again so is every other moment here. I only hope the Duke himself had a chance to hear it; he certainly would've been more than impressed. March 15, 2006

Interesting for Dolphy, otherwise the remake was better.

I grew up with the "reunion" version of Hamilton's "Ellington Suite," the one with Buddy Collette, Paul Horn, Jim Hall, Fred Katz and Carson Smith. It was one of my favorite albums and I wore it out before I turned 18. It then disappeared. Some years later, I got World Pacific's Hamilton Quintet sampler, and that had a couple of snippets from the Dolphy version. I was intregued, especially by Dolphy's extensions of Parker's alto style. So when I saw this reissue, I bought it.

One value of this reissue is to hear Dolphy in a formative stage of his musical development, ready to take off, learning how to bend and shape notes and phrases and already finding his distinctive rhythmic style. The other value is to hear Hamilton's chamber-jazz arrangements of these pieces, the same arrangements as the reunion group used on its LP. They are sensitive, with interesting instrumental interplay and color. Otherwise, this CD is a disappointment to me. Nate Gershman, in particular, is no Fred Katz, and not only has no sense of jazz phrasing but is consistently flat and has other serious intonation problems. If you can get your hands on the reunion version, compare Katz' solo on "Daydream", the cello feature, with Gershman's. Where Katz is fluid, passionate, lyrical, dynamic, Gershman is polite and somewhat stiff. As good a guitar player John Pisano is, I miss Jim Hall's harmonic richness in this music. And there is no doubt Carson Smith did a better job of anchoring the group than Hal Gaylor.

The sound is remarkably good considering its source. However, it is clearly a demo mix and many details get lost (one major example: Hamilton's mallets on cymbals in "Azure," which are all but inaudible).

Pacific Jazz would do all of us a favor by releasing a 2 CD set with both versions. December 18, 2004

Wonderful music.

This is one of the best performances of Duke's music ever recorded. It sounds so modern and non-tiring that it's hard to resist repeated plays. Especially because of Eric Dolphy.
Among many things it is also a reply to those who think Dolphy was a second-tier instrumentalist.
Even though the sound is somewhat below the usual standards, it's a blessing this cd exists at all. It doesn't sound *bad*, sometimes there are vinyl-like background noises, but it's not something to really mind, imo.

Grab it while it's still in print! May 2, 2004

All Fifties Hamiltons are worth acquiring

Whether in the studio (In Hi FI) live, or on film (Sweet Smell of Success) the Chico Hamilton Quintet of the 1950's was a swinging, innovative, and exciting group. This release is a worthy addition especially made powerful through the contribution made by Eric Dolphy. September 25, 2003

A sublime tribute to Duke's art;absolutely essential!!!

I don't agree with some reviewers who wrote about this session.But,OK,CHico Hamilton's music was too advanced fourty five years ago for some ears (that's why this session was never released),and maybe it's still to advanced for some people.
I'd like to start this way:
- the sound quality isn't awful;it's a very correct one,so maybe some guys have to wash their ears before writing dumb things.
- Nate Gershman,the cello player,isn't a jazz musician and so,was not supposed to play like Red Mitchell or Oscar Pettiford.Chico Hamilton loved to interpolate classical things into jazz themes,and he was not the only one to do that.
- The reason why this session was never released is clearly explained into the booklet if you read it completely.It was no live recording.This was the first recording of Chico's Ellington suite,with Gershman,John Pisano on guitar,Hal Gaylor on bass and Eric Dolphy on clarinet,alto and flute;this was done August 22,1958.But it was never issued because Dolphy's music didn't satisfy Pacific Jazz,and the suite was recorded again with Buddy Collette replacing Dolphy.Please note that the second recording isn't really a suite,but only a succession of themes by Duke.In the first version,each theme is related to the following,forming a real suite.
Dolphy sounds too parkerish in this record ? Well,where do you think he comes from??? Charlie Barnet ??? It's as stupid as reproaching Zoot Sims to sound like Pres,or Pharoah Sanders to sound like Trane,or David Murray to sound like Ayler.
The fact is that this record is one of the best tributes to Duke Ellington ever recorded.Chico Hamilton chose magnificent tunes (I'm particularly pleased he chose "day dream" ,"azure" and "I'm just a lucky so and so").The arrangements are great,and Dolphy's solos,on flute,clarinet and alto,are majestic ones.Here is one of the highlights from the Pacific Jazz collection,even if it was rejected at the time of its recording.A real treasure. August 25, 2003

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