I never understand why people ding this record for not being as avant-garde as Dolphy's later
work. The players are all great (Byard, Dolphy's flute on Glad to Be Unhappy) to exceptional
(everyone else), with Tucker's bass otherworldly at times. It's a wankfest that tempers
its onanistic tendency with swinging melodies and harmonies. Sure, it's the shallow end of
Dolphy's ventures into the pool, but it is at times deeply reverential and stands proudly
against even Out to Lunch.
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