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1975: The Duets
Dave Brubeck & Paul Desmond
első megjelenés éve: 1975
38 perc
(2009)

CD
4.270 Ft 

 

IMPORT!
Kosaramba teszem
1.  Alice in Wonderland
2.  These Foolish Things
3.  Blue Dove
4.  Stardust
5.  Koto Song
6.  Balcony Rock
7.  Summer Song
8.  You Go to My Head
Jazz / Cool, Torch Songs, West Coast Jazz, Mainstream Jazz, Standards

Recorded: Jun 10-Sep 16, 1975, CI Studios, New York, New York

Dave Brubeck - piano
Paul Desmond - alto saxophone

Includes liner notes by Paul Desmond.

Although Dave Brubeck and Paul Desmond made many rewarding recordings together, this was their only duo album; it was inspired by several duo performances on board a cruise ship. Their magical ESP is evident from start to finish. Brubeck's lyricism throughout these sessions will surprise critics who label him as "bombastic," while Desmond, known for his pure dry-toned alto sax, throws a few curves to his longtime fans. The loping waltz treatment of "Alice in Wonderland" and a delicate interpretation of the Mexican folk song "The Blue Dove" contrast with their abstract approach to "Stardust." The especially adventurous introduction to Brubeck's oriental blues "Koto Song" opens with Desmond providing percussion by tapping on his instrument's keys without blowing; the piece then slowly evolves from random-sounding fragments into its haunting theme. Their return visit to "Balcony Rock," a collaborative effort from the 1950s, is an absolutely buoyant miniature. Brubeck performs his "Summer Song" alone in a mood of celebration, unlike the wistful flavor of his first recording of it with Louis Armstrong. The audio source for "You Go to My Head" is a BBC videotape made during the concert which inspired the making of this album, but the memorable interaction between the two musicians during this performance should be considered one of the high points of their respective careers. This 2002 CD reissue improves upon the wretched sound of the original LP (caused by use of recycled vinyl) and an earlier CD which omitted Desmond's liner notes and most of the photos. This limited-edition disc is beautifully packaged in a mini-LP gatefold cover with a soft cloth sleeve for the disc. This is an essential acquisition for fans of Dave Brubeck and Paul Desmond.
---Ken Dryden, AMG



Dave Brubeck

Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Dec 06, 1920 in Concord, CA
Genre: Jazz
Styles: Cool, West Coast Jazz

Dave Brubeck has long served as proof that creative jazz and popular success can go together. Although critics who had championed him when he was unknown seemed to scorn him when the Dave Brubeck Quartet became a surprise success, in reality Brubeck never watered down or altered his music in order to gain a wide audience. Creative booking (being one of the first groups to play regularly on college campuses) and a bit of luck resulted in great popularity, and Dave Brubeck remains one of the few household names in jazz.
From nearly the start, Brubeck enjoyed utilizing poly-rhythms and poly-tonality (playing in two keys at once). He had classical training from his mother, but fooled her for a long period by memorizing his lessons and not learning to read music. He studied music at the College of the Pacific during 1938-1942. Brubeck led a service band in General Patton's Army during World War II and then, in 1946, he started studying at Mills College with the classical composer Darius Milhaud, who encouraged his students to play jazz. During 1946-1949, Brubeck led a group mostly consisting of fellow classmates, and they recorded as the Dave Brubeck Octet; their music (released on Fantasy in 1951) still sounds advanced today, with complex time signatures and some poly-tonality. The octet was too radical to get much work, so Brubeck formed a trio with drummer Cal Tjader (who doubled on vibes) and bassist Ron Crotty. The trio's Fantasy recordings of 1949-1951 were quite popular in the Bay Area, but the group came to an end when Brubeck hurt his back during a serious swimming accident and was put out of action for months.
Upon his return in 1951, Brubeck was persuaded by altoist Paul Desmond to make the group a quartet. Within two years, the band had become surprisingly popular. Desmond's cool-toned alto and quick wit fit in well with Brubeck's often heavy chording and experimental playing; both Brubeck and Desmond had original sounds and styles that owed little to their predecessors. Joe Dodge was the band's early drummer but, after he tired of the road, the virtuosic Joe Morello took his place in 1956; while the revolving bass chair finally settled on Eugene Wright in 1958. By then, Brubeck had followed his popular series of Fantasy recordings with some big sellers on Columbia, and had appeared on the cover of Time (1954). The huge success of Paul Desmond's "Take Five" (1960) was followed by many songs played in "odd" time signatures such as 7/4 and 9/8; the high-quality soloing of the musicians kept these experiments from sounding like gimmicks. Dave and Iola Brubeck (his wife and lyricist) put together an anti-racism show featuring Louis Armstrong (The Real Ambassadors) which was recorded, but its only public appearance was at the Monterey Jazz Festival in the early '60s.
The Dave Brubeck Quartet constantly traveled around the world until its breakup in 1967. After some time off, during which he wrote religious works, Brubeck came back the following year with a new quartet featuring Gerry Mulligan, although he would have several reunions with Desmond before the altoist's death in 1977. Brubeck joined with his sons Darius (keyboards), Chris (electric bass and bass trombone), and Danny (drums) in Two Generations of Brubeck in the 1970s. In the early '80s, tenor saxophonist Jerry Bergonzi was in the Brubeck Quartet, and beginning in the mid-'80s, clarinetist Bill Smith (who was in the original octet) alternated with altoist Bobby Militello.
There is no shortage of Dave Brubeck records currently available, practically everything he cut for Fantasy, Columbia, Concord, and Telarc are easy to locate. Brubeck, whose compositions "In Your Own Sweet Way," "The Duke," and "Blue Rondo a la Turk" have become standards, remained very busy (despite some bouts of bad health) into the 2000s.
---Scott Yanow, All Music Guide

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