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Eli Yamin Celebrates the Dave Brubeck Quartet Curriculum Guide
Eli Yamin Celebrates the Dave Brubeck Quartet Curriculum Guide Eli Yamin Celebrates the Dave Brubeck Quartet Overview These six videos are presented and performed by jazz and blues pianist, composer, singer, producer and educator Eli Yamin. The videos vary in length from 3 to 12 minutes. The title of the series aptly denotes the content because Eli Yamin and his group of master musicians truly do “celebrate” 5 songs of Dave Brubeck. Each video examines and performs a specific song and its unique qualities. Although the focus is always the music, the lessons easily apply to literacy and language arts standards, grades 6-12. The amount of time spent on the lessons can be decided by the teachers, depending on students’ interest, needs, and planning. Below is a brief summary of the content of each video to help teachers decide which best suits their curriculum. It is recommended that all the videos be studied in order to provide a full scope of Brubeck’s music, but the lessons and videos can each stand alone. Dave Brubeck Brief Background Dave Brubeck was a famous jazz pianist, composer, and bandleader who lived from 1920 to 2012. He founded the Dave Brubeck Quartet in 1951 after playing for several years in his group called the Dave Brubeck Octet. His group became very popular in the 1950s, most notably for his combination of great melodies, strong sense of swing, and unusual meters and rhythms from around the globe. Some of his more popular songs are "Blue Rondo a la Turk," "In Your Own Sweet Way" and "The Duke." He collaborated with quartet member Paul Desmond on numerous compositions; Desmond’s “Take Five” became the first jazz instrumental to sell more than one million copies. -
Dave Brubeck's Southern Strategy
Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz Abstract: In January 1960, white jazz pianist Dave Brubeck made headlines for cancelling a twenty-five- date tour of colleges and universities across the American South after twenty-two schools had refused to allow his black bassist, Eugene Wright, to perform. This cancellation became a defining moment in Bru- beck’s career, forever marking him as an advocate for racial justice. This essay follows Brubeck’s engage- ment with early civil rights–era protests, examining the moments leading up to Brubeck’s cancellation of his 1960 tour of the South. In doing so, I uncover new details in Brubeck’s steps toward race activism that highlight the ways in which Brubeck leveraged his whiteness to support integration efforts, even as he simultaneously benefited from a system that privileged his voice over the voices of people of color. While Brubeck has been hailed as a civil rights advocate simply for cancelling his 1960 tour, I argue that Bru- beck’s activism worked on a deeper level, one that inspired him to adopt a new musical and promotional strategy that married commercial interests with political ideology. Brubeck’s advocacy relied on his pow- er and privilege within the mainstream music industry to craft albums and marketing approaches that promoted integration in the segregationist South. Ultimately, this period in Brubeck’s career is significant because it allows deep consideration of who Brubeck spoke for and above, who listened, and for whom his actions as a civil rights advocate were meaningful. In January 1960, white jazz pianist Dave Brubeck made headlines after twenty-two colleges and uni- versities across the American South refused to al- low his interracial quartet to perform. -
Time out With
Time ouT wiTh In sync with his loving wife, Iola, Pacific’s own jazz legend keeps pushing musical boundaries 18 fall 2009 HIsTorIc phoTos coUrtesy of the Brubeck collEction, HolT-AtherTon Special collEctions, UnIvErsity of the PAcIfIc LibrAry. coPyrIght DAvE Brubeck. 1938 1941 1945 During his college days, Brubeck often Dave and Iola met at University of the Drafted into the Army following graduation, played with local jazz and dance bands in Pacific and began a lifetime partnership. Brubeck served in Europe and formed one the surrounding communities. of the armed forces first integrated bands, “The Wolf Pack.” By Michael G. Mooney There are significant moments in time see how important this voice of freedom dive for a meal; and those soft and warm, when the paths of individuals converge. has been to the world.” moisture-filled Gulf breezes blow lazily. Barack obama was 10 years old when Like a sponge, as Dave will tell you, jazz “Retreat?” snorted Brubeck. “with all his father took him to see Dave Brubeck ’42, has soaked up the best of human creativity. the work i have to get done?” who was performing with his sons in “Jazz has been a real force in the world,” As usual, the forward-thinking Brubeck concert with the honolulu Symphony he said. “i have such great hope that things was struggling to find enough time in the orchestra. it was billed as a “father and are going to get better and better as we day to complete his pending projects, so he son” concert. The year was 1971. -
Promotional Materials Box 1
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES G: PROMOTIONAL MATERIALS BOX 1: 1940s & 1950s 1.G.1.1: POSTERS & FLYERS, 1940s & 1950s a- Guy Lombardo & His 14 Piece Orchestra [DB opening act], Dreamland Ballroom, Stockton, Feb 1947 [P; photocopy] b- A Show of Monotypes by Daniel Milhaud & New Chamber Music, Jul 1947 [P; ] c- Dave Brubeck: The Band That Jumps, Civic Aud., Stockton, Oct 4, 1947 [P] d- New Sounds In Modern Music w/ the Jazz-Work Ensemble, SF, 1949 [F] e- ”Goings On At The Playroom, 346 Jones Street [SF]...Starting January 28th/ The Three D’s,” n.d. [c1949; F] f- Photo of DB printed on pink card stock (ca. 3 x 7) g- DBQ table tents 1954 (photo copy) h- UC Berkeley University Extension Lifelong Learning catalog, Fall 1949. Includes jazz classes taught by Brubeck. 1.G.1.2: MAGAZINE ADVERTISING, 1950s a- DBQ Opening Tonight at Clayton Club, 11-13-51 [SF area newspaper ad] b- Seattle Guide (Oct 30-Nov 5, 1953) c- “Rubinstein’s New Lipstick Color: Jazz Red Hot & Cool,” Vogue (9-15-55 ) d- “O Thanks! All Ye Faithful” Down Beat (1-11-56) [DBQ Xmas greetings] e- DB letter [in English] to Polish fans, Tlumaczenie Listu - Strona (4-58) 1.G.1.3: NEWS RELEASES, 1950s a- “I hope the enclosed publicity material will...,” c1950 [promo for Trio] b- “What’s New With the DBQ,” Jan 1954 c- “What’s New With the DBQ,” Feb 1954 d- “What’s New With the DBQ,” Fall 1954 e- “DB coming on Aug 9th & 10th, “New Lagoon News [Salt Lake City] (1957 f- “Sustaining Fund Set Up For Brubeck’s Friend,” 1-24-58 [Al Naukana] g- ”DBQ to Warsaw for ANTA,” 2-25-58 h- American Embassy Karachi, Pakistan. -
Time Outtakes PDF Liner Notes
TIME OUTTAKES introduction written by Douglas Brinkley ONE AFTERNOON when I visited former president Bill Clinton in Chappaqua, New York, I asked him about the rst music concert he remembered ever attending. “It was Dave Brubeck,” he answered. “I heard him live when I was 15 because we had one of the ve or six best jazz college orchestras in the country at the time, at a small state university in a little town called Arkadelphia, with a genius director named Wendell Evanson,” Clinton recalled. “He got Brubeck to come down there and do a concert in 1961. So I got a ride down there and went to the concert, and I followed him closely from then on.” Beginning with that concert, Clinton became a pupil of Brubeck’s West Coast jazz style. “I started listening to Dave’s music, trying to understand how to play it. I taught myself to play his ‘Take Five’ in 5/4 time, which was written by alto saxophonist Paul Desmond to showcase drummer Joe Morello. Even though it’s an alto song, I played it on my tenor.” “It’s interesting if you contrast him, let’s say, with some of the more atonal music – say, Yusef Lateef or Eric Dolphy. After touring the Middle East and India, Brubeck was actually playing totally out-there music in terms of chord progressions and the beats,” he explained. “Most all songs were 4/4 and 3/4: most all popular music, most all jazz music. e songs in 3/4 have an inherent lift to them, so, he tried to mix them. -
A Life in the Golden Age of Jazz
Parkside Publications, Inc. proudly announces the publication of A Life in the Golden Age of Jazz A Biography of Buddy DeFranco By Fabrice Zammarchi and Sylvie Mas Edited and Designed by Malcolm S. Harris ISBN No. 0-9617266-6-0 At The Jazz Workshop in Boston, 1964 (© Lee Tanner) A Life in the Golden Age of Jazz presents the fasci- nating story of one of the “senior statesmen” of jazz: Buddy DeFranco, who is generally regarded as the greatest jazz clarinetist of all time. We believe this is the most comprehensive biography ever published about a jazz musician. Buddy began playing professionally in 1935, at the age of only 12, helping his blind father support a poor family in South Philadelphia. Now 79, he has begun his 67th year as a professional musician, still accept- ing new challenges and playing with new partners. Born in 1923, Buddy has lived through almost the entire history of jazz. He began a career “on the road” at the age of only 16, playing in many of the big bands which became the hallmarks of the Swing Era: Gene Krupa, Charlie Barnet, Tommy Dorsey and Boyd Raeburn. He participated in the origins of the Bebop Revolution in New York in the 1940s, making signifi- cant contributions to the harmonic concepts of that movement, playing with Charlie Parker, Lennie Tristano, Dizzy Gillespie and all the great protagonists of that “hot house” period in American music. He was featured with the legendary Count Basie Septet in 1950 and then led his own big band in 1951. -
David Warren Brubeck
DAVID WARREN BRUBECK Mr. President, esteemed colleagues, students, and friends, today it is our privilege to honor pianist, composer, Dave Brubeck, legendary jazz performer, and influential force in the composition of contemporary sacred music. In the 1950's, the music of the Dave Brubeck Quartet was associated with the intricate, lightly swinging sound known as "West Coast Cool". However, his emphasis on improvisation and his adventurous harmonic experimentation turned out some extremely "hot" recordings. Within one year his group won the Down Beat Critics poll and was chosen Jazz Combo of the Year by fans. The Dave Brubeck Quartet became the sound that identified an era, and started a wave of popularity for jazz on college campuses. The Dave Brubeck Quartet won the first jazz poll conducted by a black newspaper, The Pittsburgh Courier. In 1959 Dave Brubeck appeared and recorded with Leonard Bernstein and the New York Philharmonic in a work written by Brubeck's brother, Howard. In 1960 the Dave Brubeck Quartet, with Paul Desmond, Eugene Wright, and Joe Morello, released their first experiment in odd-metered rhythms. The album, Time Out and its singles, "Take Five" and "Blue Rondo a Ia Turk" became the first in modern jazz to "go gold". Born in Concord, California, in 1920, Dave went to the College of the Pacific in Stockton, California, as a pre-med student with the aim of becoming a veterinarian, but soon changed his major to music. Upon his discharge from the service in 1946, he returned from Europe to study with the famous French composer, Darius Milhoud. -
The Birth of New Jazz How Progressive Musical Ideas Influenced Jazz Beyond Its Sonic Elements
The Birth of New Jazz How Progressive Musical Ideas Influenced Jazz Beyond its Sonic Elements By Julian Yang INTRODUCTION The authenticity of many art forms has been contested in history. African-Americans, in particular, have had their roots lost in the expansion to wider audiences, seen during the height of Jim Crow and segregation. Rock n’ Roll, which started as a genre rooted in black musicians, became commercialized by white artists and audiences, stripping its beginnings of African- American musicians. The exploitation of artists reflected a greater theme of segregation and racism, as Rock n’ Roll captivated a young and rebellious generation of white Americans. As a result, the era of Rock n’ Roll is mostly represented by the works of Elvis Presley instead of Chuck Berry. Similar to Rock n’ Roll, a melting-pot of genres emerged from African American musicians: jazz. Noted by its swing and syncopation, complex harmonies, and improvisation,1 jazz adapted to maintain its black roots, even when threatened with marginalization within and outside of the community. As jazz developed through the decades of the twentieth century, the 1 Alan, Stanbridge. “Jazz” In Bloomsbury Encyclopedia of Popular Music of the World. Vol. VIII. New York: The Continuum International, 2012. SCAFFOLD: A SHOWCASE OF VANDERBILT FIRST-YEAR WRITING|Vol. 3|Spring 2021 Scaffold is a digital collection of first-year writing curated by the Vanderbilt Writing Studio. To highlight the developing writing processes and learning experiences central to the growth of new college writers, the collection pairs each piece with a recorded reflection from its author. -
JOE MORELLO by MARVIN BUROCK a Thesis Submitted to the School Of
JOE MORELLO By MARVIN BUROCK A thesis submitted to the School of Graduate Studies Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by ____________________________________ ____________________________________ Newark, New Jersey May 2018 ©2018 Marvin Burock ALL RIGHTS RESERVED ABSTRACT OF THE THESIS Joe Morello by MARVIN BUROCK Thesis Director: Dr. Lewis Porter Dr. Henry Martin This thesis explores legendary jazz drummer Joe Morello’s early years and musical training as well as a portion of his body of recorded drum solos. It also examines his breadth of influence across genres as well as his influence as an educator. Joe’s approach to teaching is also explored. Although hand development was one of his primary areas of focus, he also taught drum set coordination as well as the more musical aspects of drumming such as understanding song form and approaches to improvisation. This thesis also provides a unique glimpse into Joe’s drum equipment and set-up as well as his approach to tuning. The history of his drum and cymbal endorsements is also explored. The information found in this thesis is based on my more than twenty years as his pupil and drum technician. I currently serve as archivist for all of Joe’s personal effects from throughout his long and illustrious career. ii ACKNOWLEDGEMENTS AND DEDICATION I would like to express my sincere thanks to Dr. Lewis Porter and Dr. -
Time Out”—The Dave Brubeck Quartet (1959) Added to the National Registry: 2005 Essay by Stephen A
“Time Out”—The Dave Brubeck Quartet (1959) Added to the National Registry: 2005 Essay by Stephen A. Crist (guest post)* “Time Out” album “Time Out” label Dave Brubeck The Dave Brubeck Quartet was, quite simply, the most famous and commercially successful jazz combo of the 1950s and 1960s. The group and its individual members (Brubeck on piano, Paul Desmond on alto saxophone, Joe Morello on drums beginning in 1956, and Eugene Wright on bass from 1958) routinely won the popularity polls of magazines such as “Down Beat” and “Playboy.” The Quartet toured extensively, performing frequently in every corner of the United States. They also traveled abroad several times per year, beginning in 1958 with their first European tour, a month-long commercial enterprise that took them to the United Kingdom, Germany, the Netherlands, Belgium, Sweden, and Denmark, and that was followed by a ten- week stint as goodwill ambassadors on behalf of the U.S. State Department, with performances in Poland, Turkey, India, Ceylon (Sri Lanka), East Pakistan (Bangladesh), West Pakistan, Afghanistan, Iran, and Iraq. By the time Brubeck signed with Columbia Records in 1954, his quartet was inextricably associated with the performance of jazz concerts on college campuses. His first Columbia album, “Jazz Goes to College” (recorded live at three Midwestern schools), sold so well that it earned back the advance and began producing royalties within just a few weeks. In November 1954, Brubeck became the second jazz musician (after Louis Armstrong in 1949) to be featured on the cover of “Time” magazine. The Quartet’s first studio album for Columbia, “Brubeck Time,” was released in February 1955. -