Editing Eric Dolphy (section)

==Legacy==
John Coltrane acknowledged Dolphy's influence in a 1962 ''[[DownBeat]]'' interview, stating: "After he sat in... We began to play some of the things we had only talked about before. Since he's been in the band, he's had a broadening effect on us. There are a lot of things we try now that we never tried before. This helped me... We're playing things that are freer than before."<ref>{{cite journal |last=DeMicheal |first=Don |date=April 12, 1962 |title=John Coltrane and Eric Dolphy Answer the Jazz Critics |journal=DownBeat |pages=21–22 }}</ref> Coltrane biographer [[Eric Nisenson]] stated: "Dolphy's effect on Coltrane ran deep. Coltrane's solos became far more adventurous, using musical concepts that without the chemistry of Dolphy's advanced style he might have kept away from the ears of his public."<ref>{{cite book | last = Nisenson | first = Eric |title =Ascension: John Coltrane And His Quest | publisher =Da Capo | year =2009 | pages=117–118 }}</ref> In his book ''Free Jazz'', Ekkehard Jost provided specific examples of how Coltrane's playing began to change during the time he spent with Dolphy, noting that Coltrane started using wider melodic intervals like sixths and sevenths, and began focusing on integrating sound coloration and multiphonics into his solos.<ref>{{cite book | last =Jost | first =Ekkehard | title =Free Jazz | publisher =Da Capo| year =1994 | pages=29–30 }}</ref> Jost contrasted Coltrane's solo on "India", recorded in November 1961 while Dolphy was with the group, and released on ''[[Impressions (John Coltrane album)|Impressions]]'', with his solo on "[[My Favorite Things (song)|My Favorite Things]]", recorded roughly a year earlier, and released on the [[My Favorite Things (John Coltrane album)|Atlantic album]],<ref>{{cite book | last =Jost | first =Ekkehard | title =Free Jazz | publisher =Da Capo| year =1994 | pages=28–29 }}</ref> and observed that on "My Favorite Things", Coltrane "accepted the mode as more or less binding, occasionally aiming away from it... at tones foreign to the scale,"<ref name="jost_29">{{cite book | last =Jost | first =Ekkehard | title =Free Jazz | publisher =Da Capo| year =1994 | pages=29 }}</ref> whereas on "India", Coltrane, like Dolphy, played "''around'' the mode more than ''in'' it."<ref name="jost_29" />

Dolphy's musical presence was also influential to many young jazz musicians who would later become prominent. Dolphy worked intermittently with [[Ron Carter]] and [[Freddie Hubbard]] throughout his career, and in later years he hired [[Herbie Hancock]], [[Bobby Hutcherson]] and [[Woody Shaw]] to work in his live and studio bands. ''[[Out to Lunch!]]'' featured yet another young performer, drummer [[Tony Williams (drummer)|Tony Williams]], and Dolphy's participation on Hill's ''[[Point of Departure (Andrew Hill album)|Point of Departure]]'' session brought him into contact with the tenor player [[Joe Henderson]].

There is a [[Le_Moyne_College#Dolphy_Day|celebration held at Le Moyne College]] based on a Frank Zappa song, "[[Weasels Ripped My Flesh|The Eric Dolphy Memorial Barbecue]]," inspired by him. 

Carter, Hancock and Williams would go on to become one of the quintessential rhythm sections of the decade, both together on their own albums and as the backbone of [[Miles Davis]]'s [[Miles Davis Quintet#Second Great Quintet|second great quintet]]. This aspect of the second great quintet is an ironic footnote for Davis, who was critical of Dolphy's music: in a 1964 ''DownBeat'' "Blindfold Test", Miles quipped: "The next time I see [Dolphy] I'm going to step on his foot."<ref>{{cite journal| last= Feather| first= Leonard| url= http://www.forghieri.net/jazz/blind/Davis_3.html| title= 3rd Blindfold Test Miles Davis| via= forghieri.net| journal= Down Beat| volume= 58| number= 12| date= December 1991| page= 69| publisher= first published June 1964| access-date= 3 March 2020| archive-date= 22 February 2020| archive-url= https://web.archive.org/web/20200222215329/http://www.forghieri.net/jazz/blind/Davis_3.html| url-status= live}}</ref> However, Davis new quintet's rhythm section had all worked under Dolphy, thus creating a band whose brand of "[[Outside (jazz)|out]]" was strongly influenced by Dolphy.

Dolphy's virtuoso instrumental abilities and unique style of jazz, deeply emotional and free but strongly rooted in tradition and structured composition, heavily influenced such musicians as [[Anthony Braxton]],<ref>{{cite web |url=https://www.allaboutjazz.com/anthony-braxton-the-complete-arista-recordings-by-clifford-allen.php |title=Anthony Braxton: Anthony Braxton: The Complete Arista Recordings |last=Allen |first=Clifford |date=January 19, 2009 |website=AllAboutJazz.com |access-date=June 26, 2020 |archive-date=June 29, 2020 |archive-url=https://web.archive.org/web/20200629223009/https://www.allaboutjazz.com/anthony-braxton-the-complete-arista-recordings-by-clifford-allen.php |url-status=live }}</ref> members of the [[Art Ensemble of Chicago]],<ref>{{cite web|url=https://www.nytimes.com/1982/02/07/arts/critics-choices-151659.html|title=Critics' Choices: Jazz|last=Palmer|first=Robert|date=February 7, 1982|website=[[The New York Times]]|access-date=June 26, 2020|archive-date=June 27, 2020|archive-url=https://web.archive.org/web/20200627002512/https://www.nytimes.com/1982/02/07/arts/critics-choices-151659.html|url-status=live}}</ref> [[Oliver Lake]],<ref>{{cite web |url=https://www.nytimes.com/1987/01/15/arts/jazz-oliver-lake-quartet.html |title=Jazz: Oliver Lake Quartet |last=Pareles |first=Jon | date=January 15, 1987  | website=[[The New York Times]] |access-date=June 26, 2020}}</ref> [[Arthur Blythe]],<ref>{{cite book | last = Jenkins | first = Todd |  title = Free Jazz and Free Improvisation: An Encyclopedia, Volume 1 | publisher = Greenwood | year = 2004 | pages=xlii }}</ref> [[Don Byron]],<ref>{{cite web |url=https://legacy.npr.org/programs/btaylor/pastprograms/dbyron.html |title=Jazz: Billy Taylor's Jazz at the Kennedy Center: Don Byron | website=NPR.org |access-date=June 26, 2020}}</ref> and [[Evan Parker]].<ref>{{cite book | last = Corbett | first =John | author-link = John Corbett (writer) |title =Microgroove: Forays into Other Music | publisher =Duke University Press | year = 2015 | pages=293 |quote=I think the idea of trying to make the instrument speak in three different registers simultaneously, have the whole horn speak at the same time, came from trying to deal with Dolphy. But... Dolphy's style is so unique that if you are playing like Dolphy there's nothing more obvious. It's a tradition that should be extended, because in a way it's the natural extension of Charlie Parker. It's a shame that in terms of the linear development of alto playing, that seems not to have been taken further. It is phenomenally difficult to go beyond it. }}</ref>