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Artist Directory
Dave Brubeck
- Piano
His college degree was almost withheld because his professors discovered he could not read music. He was often dismissed by the critics, who called his piano "heavy-handed" and suggested that Paul Desmond should be the groups leader. (Relations between Brubeck and Desmond, always touchy, grew a little more uneasy.) In some eyes he was either too intellectual or too simplistic and today he is called old-fashioned. Yet Dave Brubeck inspired the most modern of all pianists, mixed jazz and classical music years before the "Third Stream", was among the first musicians to form his own record company, created a new touring circuit for the musician, and singlehandedly broke the 4/4 stranglehold on jazz. Not bad for a guy whose rsum was so seemingly against him. Dave Brubeck was exposed to music at an early age; his mother was a piano teacher, and he began composing at the age of four. Entering the College of the Pacific in 1938 as a veterinary student, he quickly lost interest and changed his major to music. He coasted through his classes, and graduated from Pacific in 1942, upon which he was immediately drafted. A conscientious objector, he served by playing in various Army bands, and by entertaining troops in Europe "armed with a piano", as one biography puts it. It was in the Army that Dave first met, and briefly played with, Paul Desmond; their lives would intersect for the next 25 years. At the end of World War II, Brubeck enrolled at Mills College in Oakland, studying composition under Darius Milhaud. Brubecks class included Jack Weeks, Dave van Kreidt, and Bill Smith all would join Daves first band, and all would achieve some acclaim in classical music. Their fugues and rondos, written as class assignments, were also played by the Dave Brubeck Octet in their weekly show at San Franciscos Black Hawk. (This group was recorded, but would not be released until Brubeck became famous.) The Octet disbanded in 1949, and Brubeck joined the Paul Desmond Trio; after three weeks Desmond left his own group to pursue another job. Dave was furious: he renamed the group The Dave Brubeck Trio and worked steadily at Palo Altos Band Box, earning a reputation. When Desmonds gig fell through, he sat in with the group frequently; Dave would not officially hire him until a few years later. In 1949 Dave made his first formal recordings, in a trio with Ron Crotty on bass and Cal Tjader on drums. Subtitled Distinctive Rhythm Instrumentals, this album was initially released by Coronet Records a label run by jazz fans, with no experience in the record business. Having no contact with pressing plants, Coronet asked a plastics extrusion firm to make the record; the company, owned by Sol and Max Weiss, did the job and did it on credit. The album sold so well that Coronet lacked the funds to press enough copies to fill their orders; in time the label went bankrupt, and Brubeck obtained rights to the album. With the Weiss brothers for partners, Dave reissued the album on his own label, Fantasy Records it continued to sell well for a year, and encouraged Brubeck to make more recordings. The Brubeck Quartet signed with Columbia Records in 1954. While he had no formal contract with Fantasy, the Weiss brothers claimed he owed them material; Dave compromised by recording five further albums for Fantasy, at the rate of one a year. These albums were made with various groups, often with Bill Smith replacing Desmond. (Brubeck ended all contact with Fantasy when he moved to New York; when the label was sold in the Sixties, Dave received no compensation.) With the band growing in popularity, offers were pouring in from all corners but Breubeck was getting tired of the jazz clubs. Thinking it would be of interest to their music departments, Dave compiled a list of colleges and had his wife contact them, offering them "the world-famous Dave Brubeck Quartet in a special concert." Fifty colleges accepted in the first year; for many of them, it was the first jazz concert they ever sponsored. The tour generated more income for the group than was possible in the clubs, and produced a series of memorable live albums. (The first was Jazz at Oberlin in 1953; a 1954 date at the University of Michigan produced Jazz Goes to College, Brubecks first major seller.) When Dave hired Eugene Wright as his bassist, several Southern colleges tried to prevent Wright from taking their stage. Brubeck refused to play without Wright, and the uproar from local fans caused the schools to relent. These tours led the way for other musicians, and jazz appears on the performance schedule of many colleges today. The band received a major boost in 1956: drummer Bob Bates was replaced by the flashy Joe Morello. Desmond hated him at first, and threatened to quit the Quartet, but Morellos adventuresome nature led to Daves next innovation unusual time signatures. The album Time Out was a surprise success, leading to sequels and a more eclectic choice of material. The Quartet toured the world on several occasions, leading Mort Sahl to quip that "whenever John Foster Dulles visits a country, the State Department sends that Brubeck Quartet in a few weeks later to repair the damage." Their work included soundtracks, a ballet, and many more albums; when the group broke up in 1967, it had played together, in one form or another, for 16 years. Dave Brubeck was ready to move on. In the 30 years following the Quartet, Brubeck might be even busier than in the past.. He has written a large body of symphonic and liturgical music, often playing at the works premieres. As his children got older, they also entered the music business; hes toured with them often, as The Brubeck Family or Two Generations of Brubeck. He has also re-formed the Quartet on a few occasions: Gerry Mulligan for a short time, reuniting with Desmond on different occasions and a full-scale Reunion Tour in 1976, the groups 25th anniversary. Current versions of the group may include Bobby Militello, or clarinetist Bill Smith, who has played with Brubeck since the 40s. It has all led to a very full musical life, which has shown no signs of slowing down. People who influenced him: Errol Garner, Teddy Wilson People whom he influenced: Cecil Taylor Played with: Louis Armstrong, Jerry Bergonzi, Alan Dawson, Paul Desmond, Carmen McRae, Joe Morello, Gerry Mulligan, Jimmy Rushing, Cal Tjader Quotes by Dave Brubeck: "Any jackass can swing. But to try something new and swing at the same time, thats hard." Quotes about Dave Brubeck: "Your group dont swing, but you do." Miles Davis Recommended Reading: "Dave Brubeck: A Biography". On the Internet at www.duke.edu/~smt3/brubeck.htm Fred M. Hall, Its About Time: The Dave Brubeck Story. Recommended Recordings: As leader: Brubeck a la Mode (Fantasy, 1960) Daves rhythm section is joined by clarinetist Bill Smith, and every tune is modal. (This was the second such album in jazz history; the first is Miles Kind of Blue.) Smiths soft, mellow sound is a nice alternative to Paul Desmond; the music, while not exceptional, is certainly enjoyable. Brubeck Plays Brubeck (Columbia, 1956) Recorded at Brubecks home late one night, this was Daves first disc of solo piano. (Its much better than a similar date for Fantasy, Dave Brubeck Plays and Plays and Plays.) More active than with the Quartet, Dave strides on "Walkin Line" and tiptoes on the first version of "In Your Own Sweet Way". This should be heard by anyone critical of Brubecks piano style. Dave Brubeck Octet (Fantasy, 1948) Home recordings and radio broadcasts from Daves original group, with Paul Desmond, Cal Tjader, and a host of Pacific College students. The horn charts are unusual for the time, and many tunes sound like classical music. (Some were written as class assignments for Darius Milhaud.) Highlights are "Prelude", "Fugue on Bop Themes", reworkings of "Prisoners Song" and "The Way You Look Tonight", and a hilarious "jazz history" version of "How High the Moon", played in many styles. Hear Brubeck play boogie-woogie, for maybe the only time! Dave Brubeck Quartet at Carnegie Hall (Columbia, 1963) With a program of their greatest hits, this show starts strong and gets better from there. Morello is ferocious on "Bossa Nova USA", and Desmond whispers on top like a flute. "For All We Know" is the definition of "wistful", and waitll you hear Morello on "Castilian Drums". This album is energetic and fun. Dave Brubeck Trio: 24 Classic Original Recordings (Distinctive Rhythm Instrumentals) (Fantasy, 1950) Daves first three albums (originally released on 10" LPs) combined in a wonderful package. There are lots of surprises: fast bongos on "You Stepped Out of a Dream", with Dave equally percussive; broad washes of sound on "Singin in the Rain", a calypso rhythm on "Body and Soul". They dont play standards in the standard way, which makes this album a treat. Dave Digs Disney (Columbia, 1957) The concept seems silly: the tunes have no connection to jazz, so you expect this to be lightweight. Far from it: Desmonds intricate, eloquent solo on "Alice in Wonderland" belies the simple song its written around. Norm Bates bass is in fine form, and Morello is surprisingly restrained, sticking mostly to brushes. You wont believe how funky "Heigh Ho" can be! Double Live from the USA and UK (Telarc, 2001) Two different concerts with slightly different groups; Dave can still stir the emotions, in faint clouds of sound. An arrhythmic, reharmonized "Cherokee" will shock you; Dave hasnt sounded this abstract in years. Bobby Militello has something of Desmonds tone, with some bite: he snarls a little on "Easy to Love", and tootles through "Three to Get Ready". This isnt essential, but is certainly worth a listen. Jazz at Oberlin (Fantasy, 1953) When this album was made, Brubecks reputation was growing, but limited to the West Coast that changed with his college tour. Daves use of tone clusters and dissonance sounds exactly what Cecil Taylor would be doing in a few years. Pauls "dry martini" sax is in full force; the sound is fuzzy but it will do. Jazz Goes to College (Columbia, 1954) This one sold 100,000 copies, which is unheard of for a jazz album. Given ten minutes of themeless blues on "Balcony Rock", Desmond solos endlessly and inventively. Paul is more emotional on "Le Souk", where he twists a theme similar to Ravels "Bolero". Beautiful, nearly flawless music. Jazz Impressions of New York (Columbia, 1964) Originally written for the TV show Mr. Broadway, these numbers are sweet and classy imagine the Guaraldi trio, with Paul Desmond as a bonus! Loneliness reigns on "Autumn in Washington Square", and the theme of "Sixth Sense" reminds you of Thelonious Monk! This album is a pleasant surprise for anyone who finds it. One Alone (Telarc, 2000) His fifth solo album, Dave takes it more leisurely than his previous efforts. Hes thoughtful on "That Old Feeling", mulling over each note and then playing it softly. "Someone to Watch Over Me" is told mostly in chords, with some Tatum-like flourishes; "Over the Rainbow" becomes an impressionist mist. This quiet effort is enjoyable, though probably not the first Brubeck you should listen to. Re-union (Fantasy, 1958) Tenorman Dave van Kreidt had been a member of Daves original octet; ten years later he was a music professor, joining Brubeck on this underrated gem. Van Kreidt blends wonderfully with Desmond, slithering together as one. Listen to "Shouts", "Prelude" (remaking a tune from Octet), and a transformation of a Bach chorale. Time Further Out (Columbia, 1960) The sequel to Time Out isnt nearly as breathtaking but it has its moments including "Unsquare Dance", a great little tune in 7/8. Time Out (Columbia, 1959) The original classic; while some musicians were writing jazz waltzes, other time signatures were completely unexplored. The 9/8 rhythm of "Blue Rondo a la Turk" was suggested by a trip to the Middle East; Joe Morello loved to play solos in 5/4, which led to Desmonds "Take Five". Good tunes, outstanding drumwork, and Paul at his strongest it all adds up. An edited version of "Take Five" made it on Billboards Pop Top 100. Were All Together Again (For the First Time) (Atlantic, 1972) The horns are Paul Desmond and Gerry Mulligan Daves first two-sax album since Desmond and van Kreidt on Re-union. Gerry sounds like Desmond on a bigger horn on "Unfinished Woman" he also can groan, and does it mightily on "Rotterdam Blues". Sloppy in places, but fun.
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