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| 1. | Theme (The Duke) - Intro
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| 2. | Stardust
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| 3. | Gone with the Wind
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| 4. | Stompin' for Mili
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| 5. | Out of Nowhere (Incomplete)
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| 6. | A Minor Thing
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| 7. | In Your Own Sweet Way
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| 8. | The Trolley Song
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| 9. | Introduction and the Duke
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| 10. | Love Walked In
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| 11. | Here Lies Love
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| 12. | All the Things You Are
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| 13. | Theme (The Duke) - Intro
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| 14. | I'm in a Dancing Mood
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| 15. | The Song Is You
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Jazz
Dave Brubeck - Piano
Joe Morello - Drums
Norman Bates - Bass
Paul Desmond - Sax (Alto)
Dave Brubeck, who is still very much alive and musically active at the age of 85, is one of the legendary figures of post-war modern jazz, and was one of the leading figures in the so-called “West Coast Cool Jazz” style along with the likes of Gerry Mulligan and Chet Baker, which was a central element of the genre in the ‘50s and ‘60s. As a pianist with a very individual style, who despite a formal musical training, deliberately avoided learning to read music, he established his reputation by touring university campuses in the immediate post-war decade, and in 1954 was sufficiently high profile to be only the second jazz musician, after Louis Armstrong, to be featured on the cover of “Time” magazine, where he was described as “the most exciting new jazz artist at work today”. His leaning towards improvisation and experimentation led to the landmark album “Time Out” in 1959, recorded with his classic Quartet line-up with Paul Desmond on alto sax, Joe Morello on drums and Eugene Wright on bass, which explored unusual time signatures, and resulted in the first million-selling jazz single on the pop charts “Take Five”. This collection captures the evolving Brubeck Quartet in a key era, in the years when the classic line-up was coming together. Brubeck had been working with his long-time colleague Paul Desmond for several years, along with bassist Norman Bates and drummer Joe Dodge, and they were already major album sellers and a big concert draw. The recordings comprise live radio broadcasts made from clubs where the band was appearing. Thirteen tracks come from two gigs at the Basin Street Jazz Club in New York City in February 1956, and a further three tracks were recorded at The Blue Note, Chicago in March1957. Interestingly, between these dates, drummer Joe Dodge was replaced by the more high profile and creatively innovative Joe Morello, whose influence was central to the development of the “Time Out” project. Not long after these recordings, Bassist Bates was also replaced by Eugene Wright to complete the classic Quartet line-up, so these tracks represent a fascinating snapshot of a year in the life of one of the most important combos in jazz history. The recordings include the announcer’s intros, which provide the context and atmosphere of the club/radio environment, and emphasise the unique ‘live’ one-off flavour of the performances.
This CD compiles various broadcasts by the Dave Brubeck Quartet originating from New York City's Basin Street in 1956 and Chicago's Blue Note in 1957. Aside from the annoying radio announcers, who try a little too hard to humorous, the performances are representative of the quartet at its best during the first decade of its existence, while the audio is very clear. There is an emphasis on standards, highlighted by "All the Things You Are," "Stardust," and "Gone with the Wind." Brubeck's compositions are also on display, including several brief performances of "The Duke" (his tribute to Duke Ellington which is used as a program theme), along with his well-known ballad "In Your Own Sweet Way" (which has long since become a popular jazz standard), and the rather obscure blues "A Minor Thing" (which was never commercially recorded). Brubeck and Paul Desmond have amazing chemistry throughout each set, with the rhythm section including bassist Norman Bates and either Joe Dodge or Joe Morello on drums. While these performances have previously appeared on CD, this time the songs are correctly identified and this edition has more detailed (though anonymous) liner notes.
---Ken Dryden, 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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