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2 x CD |
| 4.361 Ft
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| 1. CD tartalma: |
| 1. | Blue Rondo a La Turk
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| 2. | Strange Meadow Lark
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| 3. | Take Five
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| 4. | Three to Get Ready
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| 5. | Kathy's Waltz
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| 6. | Everybody's Jumpin'
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| 7. | Pick Up Sticks
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| 2. CD tartalma: |
| 1. | Lost Waltz
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| 2. | Softly, William, Softly
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| 3. | Time In
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| 4. | 40 Days
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| 5. | Travellin' Blues
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| 6. | He Done Her Wrong
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| 7. | Lonesome
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| 8. | Cassandra
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Jazz / Cool; West Coast Jazz
Recorded: Aug 18, 1959-1963
Dave Brubeck - Liner Notes, Piano
Eugene Wright - Bass
Joe Morello - Drums
Paul Desmond - Sax (Alto)
Two original albums. Packaged in individual jewel cases which are housed in a slipcase.
* Don Hunstein - Photography
* Fred Plaut - Engineer, Original Engineering
* Gina Bello - Design Assistant
* Hope Chasin - Packaging Manager
* Jennifer Ebert - Packaging Manager
* Joan Miro - Cover Painting
* Ken Fredette - Design Assistant
* Kevin Gore - Reissue Series
* Mark Wilder - Digital Mastering
* Randall Martin - Design, Reissue Design
* Rene Arsenault - Production Assistant
* Russell Gloyd - Reissue Producer
* Seth Rothstein - Project Director
* Steve Race - Liner Notes
* Steven Berkowitz - Reissue Series
* Ted Macero - Producer
* Teo Macero - Original Recording Producer
* Tony Sellari - Art Direction
The packaging of Dave Brubeck's two most popular (Time Further Out notwithstanding) albums, Time Out (1959) and Time In (1965), makes perfect sense. To get them both on this double CD makes it all the more attractive a purchase. In the late '50s through the early to mid-'60s, Brubeck's band with alto saxophonist Paul Desmond, bassist Eugene Wright, and drummer Joe Morello did very little wrong to increase the cachet of modern jazz, ramp it up a bit with their usage of different time signatures, employ a universally accessible sound, and make it all sound so cool and effortless. Though the cuts on the underappreciated Time In are not as well-known, they show the members of the Brubeck quartet progressing, challenging themselves, advancing their notions further, and refusing to compromise. Also remember that this was a time of emergence for both Bill Evans and Ornette Coleman, whose distinctly different directions also changed the face of mainstream jazz. This will be an excellent addition to the library of any listener, whether longtime fan or novice listener to the peerless Dave Brubeck.
---Michael G. Nastos, All Music Guide
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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