At the same time, though, bassist Richard Davis and drummer Tony Williams seem to maintain an even keel throughout the proceedings, giving the songs a steady, solid feel that’s a far cry from the nuttiness that was to emerge from the avant-garde. It’s true that the album has its share of dissonance, and seems to be reveling in it, whether it’s Dolphy squawking away on his bass clarinet or Bobby Hutcherson puts the hammer down on the vibes. Or is it? Personally, I’ve always thought that Out to Lunch! was a good example of a straight-ahead avant-garde record (unless you decide to think of it as an unusually avant-garde straight-ahead jazz record, which is OK too). The song comes off as a a haunted film noir fever dream, making it a good example of why people find jazz so “difficult”. That mix of bass clarinet, double bass, and vibraphone seem to be settling you in for something altogether unsettling. And from the first chilling notes of Dolphy’s “Hat and Beard”, you know you’re headed into some unusual territory. This time around, though, I’ve taken the gloves off. Because I am by nature a polite man, of course, I try to find the kind of jazz that I think the other person will actually enjoy (spoiler alert: that often involves Brubeck). Actually not just you, Mendelsohn I have a need to occasionally force people to listen to jazz - coworkers, party guests, spouses. Klinger: Every so often, I feel the need to force you to listen to jazz.
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