Etichetta: Brubeck Editions

For all those who have a big axe to grind with Brubeck, for all those who claim the band was only successful because they were predominantly white, or played pop-jazz, or catered to the exotica craze, or any of that, you are invited to have all of your preconceptions, tepid arguments, and false impressions hopelessly torn to shreds by one of the great live jazz albums of the 1960s…

Ask Dave Brubeck who his favourite composer is and the answer always comes back: "Bach". This 2004 concert makes explicit the spiritual kinship between Papas Bach and Brubeck. The set opens with a fine performance of Bach's Concerto for Two Pianos, BWV1060, with Anthony and Joseph Paratore responding positively to Russell Gloyd's driving tempi.
The Paratore brothers have recorded the two-piano version of Brubeck's ballet score Points on jazz before, but this version with orchestral accompaniment is a reminder of how ingenious Brubeck's material is. A Prelude rich in references to Bach and Chopin becomes the basis for a dazzling set of variations - a swinging blues one moment, a highly creative fugue next - every note distilled through Brubeck's fertile imagination…

With the support of the American State Department, the Dave Brubeck Quartet, including new members Joe Morello and Eugene Wright, began a major tour of Europe early in 1958. Their first concert in the Netherlands was held on 26 February in the legendary Concertgebouw Hall in Amsterdam, usually reserved for performances of classical music. Since 1951 and the collaboration between Dave Brubeck and Paul Desmond, the band had gained a stunning reputation. In 1954, Dave Brubeck was featured on the cover of Time magazine. Rumor has it that Duke Ellington knocked on Brubeck’s hotel door to congratulate him. Brubeck is said to have responded, “It should have been you.” He dedicated one of his most famous pieces, “The Duke”, included on this album, to his fellow pianist.

One of the hardest albums to acquire for most Dave Brubeck fans is In Berlin, a 1964 concert by his quartet released only in Germany by CBS. Since the set list includes two songs that were recorded at the 1963 Carnegie Hall concert, that may be why it wasn't also issued in the United States by Columbia, though the performances are sufficiently different and well played. Desmond is witty as usual in "St. Louis Blues," though Brubeck adds an amusing Charlie Parker lick in his solo and bassist Eugene Wright also shines. Brubeck's "Koto Song," which had just been recorded a few months earlier for the LP Jazz Impressions of Japan, gave the audience a taste of something new. The composer's economical solo contrasts with his supposed reputation for heavy-handed playing. The group's breezy rendition of "Take the 'A' Train" is followed by the inevitable "Take Five"…

To celebrate his 75th birthday, Dave Brubeck recorded one number apiece with quite a variety of top jazz stars, both young and old. Some of the performances (which alternate duets with quartets) work better than others (eight are recent Brubeck compositions) but all of the musicians display mutual respect, and it is obvious that the guests are all fans of the still-masterful pianist. Trumpeter Roy Hargrove plays beautifully on his lyrical feature but Jon Hendricks, who sings "How High the Moon" as a ballad, takes it at such a slow tempo as to be dreary. Tenor-saxophonist Michael Brecker is fine on "Michael Brecker Waltz," although he sounds a bit restrained, the wittily-titled "Here Comes McBride" is a good-humored romp with bassist Christian McBride…

This set of classic Dave Brubeck is a must get if you are a fan of the cool jazz period of 1958 to the mid 1960s. Albums such as Time Out are featured on these CDs largely including many great Live songs and the all time classic Unsquare Dance, must be one of the catchiest songs ever produced. There are also some beautiful romantic jazz ballads such as Georgia On My Mind and Blue Shadows In The Night.
In the 1950s and '60s, few American jazz artists were as influential, and fewer still were as popular, as Dave Brubeck. At a time when the cooler sounds of West Coast jazz began to dominate the public face of the music, Brubeck proved there was an audience for the style far beyond the confines of the in-crowd…