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AMG Review by Michael G. Nastos  [-]

Allegedly Eric Dolphy's final recorded performance -- a fact historians roundly dispute -- this session in Hilversum, Holland, teams the masterful bass clarinetist, flutist, and alto saxophonist with a Dutch trio of performers who understand the ways in which their hero and leader modified music in such a unique, passionate, and purposeful way far from convention. In pianist Misha Mengelberg, bassist Jacques Schols, and drummer Han Bennink, Dolphy was firmly entwined with a group who understood his off-kilter, pretzel logic concept in shaping melodies and harmonies that were prime extensions of Thelonious Monk, Ornette Coleman, and Cecil Taylor. These three Dolphy originals, one from Monk, one from Mengelberg, and a standard are played so convincingly and with the utmost courage that they created a final stand in the development of how the woodwindist conceived of jazz like no one else before, during, or after his life. Utterly masterful on his flute during "You Don't Know What Love Is," Dolphy's high-drama vibrato tones are simply out of this or any other world, perfectly emoting the bittersweet intent of this song. The ribald humor demonstrated during "Miss Ann" is a signature sound of Dolphy's alto sax, angular like Monk, jovial and more out of the box while he digs in. Where "Epistrophy" might seem standard fare to some, with Dolphy on bass clarinet it is based on voicings even more obtuse than the composer's concept, bouncing along the wings of Mengelberg's piano lines. The post-bop blues of "South Street Exit" is tuneful while also breaking off into tangents, with Bennink's crazy drumming acting like shooting, exploding stars. As the definitive track on this album, "The Madrig Speaks, the Panther Walks" demonstrates the inside-out concept, with mixed tempos changed at will and a 6/8 time insert with Dolphy's choppy alto merging into playful segments as the title suggests -- a most delightful track. The ridiculously titled "Hypochristmutreefuzz" might be the most understated fare in its more simple angularity, as Schols plays his bass in the upper register while the band dances around him. Last Date is one of those legendary albums whose reputation grows with every passing year, and deservedly so. While it reveals more about the genius rhythm section than Dolphy himself, it also marks the passing of one era and the beginning of what has become a most potent and enduring legacy of European creative improvised tradition, started by Mengelberg and Bennink at this mid-'60s juncture.

Eric Dolphy ?– Last Date

Label: Limelight ?– LS 86013 Format: Vinyl, LP, Album, Stereo 
Country: US Released: 1964 Genre: Jazz Style: Post Bop

TracklistHide Credits

A1 Epistrophy Written-By – K. Clark*, T. Monk* 11:15 A2 South Street Exit Written-By – E. Dolphy* 7:20 A3 The Madrig Speaks, The Panther Walks Written-By – E. Dolphy* 4:50 B1 Hypochristmutreefuzz Written-By – M. Mengelberg* 5:25 B2 You Don't Know What Love Is Written-By – D. Raye*, G. DePaul* 11:20 B3 Miss Ann Written-By – E. Dolphy* 5:25

Credits

• Bass – Jacques Schols
• Drums – Han Bennink
• Flute, Bass Clarinet, Alto Saxophone – Eric Dolphy
• Illustration – Z. Jastrzebski*
• Liner Notes – Nat Hentoff
• Photography By – Chuck Stewart, Don Schlitten
• Piano – Misja Mengelberg*

Notes

Also issued in mono (#LM 82013). 
Released in a book cover. 
This is Dolphy's last recorded performance, played in Hilversum (NL), the 2nd of june, 1964.

Barcode and Other Identifiers

• Matrix / Runout (A): LS-86013A-M1
• Matrix / Runout (B): LS-86013B-M1

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GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.