Ted Curson's "Tears For Dolphy," made in the watershed year of 1964, is an outstanding album that captures many of the outward directions in which jazz was headed at that point in its history. It is only natural that Curson would coalesce different elements of the new jazz. Several of the tunes have a Mingus-like flavor, particularly the romping, stomping "Quicksand" and "Reava's Waltz," which is understanable since Curson was a Mingus band member and contributor to such fine recordings as "At Antibes" and "CM Presents CM." "Kassim," with its middle-eastern like rhythm and melody, "Desolation" are reminiscent of Eric Dolphy's stint with the Coltrane Quartet. In fact Dolphy and Curson had played together with Mingus, and this recording was made a matter of weeks after Eric's tragic death, hence mournful elegy "Tears For Dolphy" for which the album is named. Finally, since this recording is a pianoless quartet, with Bill Barron on tenor sax and clarinet, Herb Bushler on bass and Dick Berk on drums, some tunes have a feel similar to Ornette's work on Atlantic, particularly "7/4 Funny Time." I do not say these things to be negative, because there is nothing bad about this recording. By synthesizing these diverse styles Curson and his band have come up with a thoughtful, creative, swinging, and forward-looking affair. "Tears For Dolphy" is quite enjoyable and I thoroughly recommend it.