Spectator 1955-01-13 Editors of the Ps Ectator
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The Dave Brubeck Quartet Jazz Impressions of the U.S.A. Mp3, Flac, Wma
The Dave Brubeck Quartet Jazz Impressions Of The U.S.A. mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz Impressions Of The U.S.A. Country: US Released: 1957 Style: Bop MP3 version RAR size: 1449 mb FLAC version RAR size: 1503 mb WMA version RAR size: 1488 mb Rating: 4.1 Votes: 868 Other Formats: FLAC MOD AAC AU WMA MMF APE Tracklist A1 Ode To A Cowboy A2 Summer Song A3 Tea Down Yonder For Two A4 History Of A Boy Scout B1 Plain Song B2 Curtain Time B3 Sounds Of The Loop B4 Home At Last Credits Alto Saxophone – Paul Desmond Bass – Norman Bates Drums – Joe Morello Piano – Dave Brubeck Other versions Category Artist Title (Format) Label Category Country Year The Dave Jazz Impressions Of The CL 984 Columbia CL 984 US 1957 Brubeck Quartet U.S.A. (LP, Album, Mono) The Dave Jazz Impressions Of The CL 984 Columbia CL 984 US 1957 Brubeck Quartet U.S.A. (LP, Album, Mono) The Dave Jazz Impressions Of The Phoenix 131573 131573 US 2013 Brubeck Quartet U.S.A. (CD, RE, RM) Records The Dave Jazz Impressions Of The CL 984 Columbia CL 984 Canada 1957 Brubeck Quartet U.S.A. (LP, Album, Mono) Jazz Impressions Of The The Dave Gambit 69308 U.S.A. (CD, Album, Mono, RE, 69308 Europe 2009 Brubeck Quartet Records Unofficial) Related Music albums to Jazz Impressions Of The U.S.A. by The Dave Brubeck Quartet The Dave Brubeck Quartet - Anything Goes! The Dave Brubeck Quartet Plays Cole Porter The Dave Brubeck Quartet - Dave Brubeck At Storyville: 1954 (Vol. -
The Dave Brubeck Quartet Featuring Paul Desmond – Brubeck Time
The Dave Brubeck Quartet Featuring Paul Desmond - Brubeck Time - Columbia Records/Speakers Corner - Audiophile Audition 27.08.18, 0937 HOME ∠ JAZZ CD REVIEWS ∠ SITE SEARCH " Search the site The Dave Brubeck Quartet Click on the category Featuring Paul Desmond – below to see that genre of Brubeck Time – Columbia reviews. Records/Speakers Corner SACD & Other Hi- Res Reviews by Audiophile Audition / August 18, 2018 / Jazz CD Reviews,, Audio News SACD & Other Hi-Res Reviews Classical CD Reviews The Dave Brubeck Quartet Classical Reissue Reviews Featuring Paul Desmond – DVD & Blu-ray Brubeck Time – Columbia Video Reviews JazzJazz CDCD ReviewsReviews Records CL622 Pop/Rock/World (1954)/Speakers Corner (2018) 180-gram CD Reviews Special Features mono vinyl, 40:00 ****1/2: Component Reviews (Dave Brubeck – piano; Paul Desmond – alto saxophone; Bob Bates – double bass; Joe Dodge (drums) Editorial Reader Feedback Dave Brubeck’s legacy as a pianist and composer is unique. Having Best of the Year studied classical and jazz composition at the University Of The Pacific https://www.audaud.com/brubeck-time-paul-desmond-columbia-records-speakers-corner/ Seite 1 von 6 The Dave Brubeck Quartet Featuring Paul Desmond - Brubeck Time - Columbia Records/Speakers Corner - Audiophile Audition 27.08.18, 0937 and Mills College, he approached his vision as a musician with complexity. In 1959, he integrated asymmetric meter into the album Take Five. With a unique time signature (5/4), the title song became a standard bearer for jazz crossover. Other compositions like “Blue Rondo A La Turk” (written in 9/8) are further examples of the unconventional use of time signatures. -
Evaluation of the Work of Jazz Pianist/Composer Dave Brubeck
AN EVALUATION OF THE WORK OF JAZZ PIANIST/COMPOSER DAVE BRUBECK BY DANNY RONALD ZIRPOLI A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1990 Copyright 1990 by Danny Ronald Zirpoli , ACKNOWLEDGEMENTS This writer is greatly appreciative of the valuable help given by many people. A very special thanks and acknowledgement are extended to my chairman, mentor, advisor, and friend, Dr. David Z. Kushner whose belief in my ability gave me the confidence to see this project to completion. Gratitude is extended to my other committee members Dr. S. Philip Kniseley, Professor John S. Kitts, Dr. Jeff A. Hurt, and Dr. Forrest W. Parkay. Their help and encouragement were most appreciated. I would also like to thank Mrs. Robena Eng-Cornwell Associate University Librarian, University of Florida, for her valuable assistance. This study would have been difficult to complete without the help of Mrs. Juliet Gerlin. She not only provided valuable support and source materials but also arranged for a personal interview with Dave Brubeck. To my mother, Margaret Zirpoli, mother-in-law, Eileen Cywinski, and father-in-law, John Cywinski, go my heartfelt thanks. Their faith and confidence in me were unsurpassed. I will forever be indebted to my wife for her help and moral support during this time. She truly helped me through my darkest hours. iii TABLE OF CONTENTS PAGE ACKNOWLEDGEMENTS iii LIST OF FIGURES vi ABSTRACT xii CHAPTERS I INTRODUCTION AND PROBLEM STATEMENT 1 II METHODOLOGY AND MATERIALS 5 III REVIEW OF THE LITERATURE 11 IV BIOGRAPHICAL SKETCH 18 V INFLUENCES AND STYLISTIC APPROACHES 37 Early Influences 3 7 Darius Milhaud Influence 56 Compositional Approach Polyrhythms and Polytonality 58 Influence of European Classical Composers Integration of Classical and Jazz Elements 67 Jazz Choral Compositions 80 Orchestral Genre — Elementals 88 Programmatic Inspiration — Keyboard Works. -
The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas the the Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas the Dave Oliphant
Oliphant: The Wisconsin Texas Jazz Nexus The Wisconsin-Texas Jazz Nexus Jazz Wisconsin-Texas The The Wisconsin-Texas Jazz Nexus Nexus Jazz Wisconsin-Texas The Dave Oliphant The institution of slavery had, of course, divided the nation, and Chicago. Texas blacks had earlier followed the cattle trails and on opposite sides in the Civil War were the states of Wis- north, but, in the 1920s, they also felt the magnetic pull of consin and Texas, both of which sent troops into the bloody, entertainment worlds in Kansas City and Chicago that catered decisive battle of Gettysburg. Little could the brave men of the to musicians who could perform the new music called jazz that Wisconsin 6th who defended or the determined Rebels of the had begun to crop up from New Jersey to Los Angeles, beholden Texas Regiments who assaulted Cemetery Ridge have suspected to but superseding the guitar-accompanied country blues and that, one day, musicians of their two states would join to pro- the repetitive piano rags. The first jazz recordings had begun to duce the harmonies of jazz that have depended so often on the appear in 1917, and, by 1923, classic jazz ensembles had begun blues form that was native to the Lone Star State yet was loved performing in Kansas City, Chicago, and New York, led by such and played by men from such Wisconsin towns and cities as seminal figures as Bennie Moten, King Oliver, Fletcher Jack Teagarden, courtesy of CLASSICS RECORDS. Teagarden, Jack Fox Lake, Madison, Milwaukee, Waukesha, Brillion, Monroe, Henderson, and Duke Ellington. -
COTT]MBIA F-E(GA(E,Y
TI COTT]MBIA f-E(GA(E,Y FOR IMMEDIATE RELEASE ocToBER 7, 1998 6THE DAVE BRUBECK COLLECTION' FEATURES IUVE CLASSIC LPS - BRUBECK TIME. BRABECK PL4YS BRABECK. BRABECKAND RUSHING. NNqNDENBURG GATE: REWSITED AND BRAVO! BRUBECK! _ ATND ANEYE.R- B EF ORE-RELEASED LIVE ALBUM, B UruED TR.E/,SUR^E^S Dave Brubeck personally chooses albums. picks unreleased bonus tracks. selects archival photos, oversees digital remastering/remixing and advises on new liner note addenda 5F anniversary release setfor October 2F in-store date on Columbia/Legacy Jazz Celebrating his 50th year as a recording artist, and the 17 years he spent at Columbia Records from 1953 to l970,The Dave Brubeck Collection presents the most ambitious jazz restoration series of the year. Five of Brubeck's classic, long out-of-print Columbia LPs of the 1950s and '60s (three of the five including rare, previously unreleased material) have been remastered and remixed under the personal supervision of Brubeck (and his musical director Russell Gloyd). The first edition of The Dave Brubeck Collection includes BRaBECK TIME (the Dave Brubeck Quartet's first studio recording); BRUBECK PLAYS BRUBECK (his first solo piano outing); BRUBECK AND RaSHING (with blues shouter Jimmy Rushing); BRANDENBaRG GATE: REWSITED (featuring a l0-part suite); andBRAVO| BRUBECK! (performed live in Mexico with local musicians). Joining these is BURIED TREASIIRES, an entire album's worth of material from 1967, representing the Dave Brubeck Quartet's final known previously unreleased recordings for the label. All six CDs, which include bonus tracks where available, newly-written addenda to the original reprinted liner notes, and previously uncirculated archival photography personally selected by Brubeck, are scheduled for October 20'h in-store date on Columbia/Legacy lazz, a division of Sony Music. -
Download File
€rv Rcfcr llw, l?.*f t::l When San FranclEco Jazz lraptessario Jlrrny Lyons introduced. an unlinorrn new quartet to LocaJ- Black Hawk Club aud.lences baek ln L95L, he predlctecr ,i:,-i-ui.,,'i ntOne day eoon thls group wlLL be the best tn the eountry. " Three years Later TIME Magazlne irad the quart"qJrs piano-ptaylng leo.ci-er, Dave Burbeck, on its eover, was describlng him as "probably tire mcrst exei,;i.::i51 new Jazz artlst at work today" " In three short years Brubeck and. conrpeiny hacl played. every nrajor jaaz cJ-ub in the country, toured. d.ozens of college cantpuses and. concert sta.ges , rll,i* a cLean sweep of popularity po3-1s for jazz musicians. As TIME went to press. "Jazz Goes tc College" appeared" for ihe f::'st, N:-me on TIIE BITJaOAI{DTS authoritative chart of the eountryrs ten best-selling pcilrri:.a::' alburns. TIME noted.: Brubeckts first Coh"unbia albun, Jazz Goes to Coi-l-ege, "for four months"'* outsold. any single albu:t by another kind. of pianlst n:;.::qcll Llberace, t' Thlrty-three-year-old. Bnrbeck first took to the piano at age foru' :,r: Cc;:.i:,:;;'i1, California, fashloneo hrs first fuoprovisatlons at flve and. stud.j-ed lif iii n:.s aiot;l:er, planlst ELizabeth lvey Bnrbeck, for rrany years thereafter. At thirteen hls m.rsical- arnbltions were d.lverted. by a strong desirr,: l;c ?.lecorile a cowboy* ile became an a,ccorxplished. cowhand. but kept playing piano in a:;sor'Leij. hlllblJ-Iy and. -
Holt Atherton Special Collections Ms4: Brubeck Collection
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES E: CLIPPINGS BOX 3a : REVIEWS, 1940s-1961 1.E.3.1: REVIEWS, 1940s a- “Jazz Does Campus Comeback but in new Guise it’s a ‘Combo,’” Oakland Tribune, 3-24-47 b- Jack Egan. “Egan finds jury…,” Down Beat, 9-10-47 c- “Local boys draw comment,” <n.s.> [Chicago], 12-1-48 d- Edward Arnow. “Brubeck recital is well-received,” Stockton Record, 1-18-49 e- Don Roessner. “Jazz meets J.S. Bach in the Bay Region,” SF Chronicle, 2- 13-49 f- Robert McCary. “Jazz ensemble in first SF appearance,” SF Chronicle, 3-6- 49 g- Clifford Gessler. “Snap, skill mark UC jazz concert,” <n.s.> [Berkeley CA], n.d. [4-49] h- “Record Reviews---DB Trio on Coronet,” Metronome, 9-49, pg. 31 i- Keith Jones. “Exciting and competent, says this critic,” Daily Californian, 12- 6-49 j- Kenneth Wastell. “Letters to the editor,” Daily Californian, 12-8-49 k- Dick Stewart. “Letters to the editor,” Daily Californian, 12-9-49 l- Ken Wales. “Letters to the editor,” Daily Californian, 12-14-49 m- “Record Reviews: The Month’s best [DB Trio on Coronet],” Metronome, Dec. 1949 n- “Brubeck Sounds Good” - 1949 o- Ralph J. Gleason, “Local Units Give Frisco Plenty to Shout About,” Down Beat, [1949?] 1.E.3.2: REVIEWS, 1950 a- “Record Reviews: Dave Brubeck Trio,” Down Beat, 1-27-50 b- Bill Greer, "A Farewell to Measure from Bach to Bop," The Crossroads, January 1950, Pg. 13 c- Keith Jones. “Dave Brubeck,” Bay Bop, [San Francisco] 2-15-50 d- “Poetic License in Jazz: Brubeck drops in on symphony forum, demonstrates style with Bach-flavored bop,” The Daily Californian, 2-27-50 e- Barry Ulanov. -
The Dave Brubeck Quartet Tritonis Mp3, Flac, Wma
The Dave Brubeck Quartet Tritonis mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Tritonis Country: US Released: 1980 Style: Contemporary Jazz MP3 version RAR size: 1817 mb FLAC version RAR size: 1259 mb WMA version RAR size: 1461 mb Rating: 4.3 Votes: 966 Other Formats: TTA MP2 VOX MP3 MMF AAC MIDI Tracklist A1 Brother, Can You Spare A Dime? 7:08 A2 Like Someone In Love 5:39 A3 Theme For June 7:27 B1 Lord, Lord 6:21 B2 Mr. Fats 3:12 B3 Tritonis 8:05 Companies, etc. Manufactured By – Festival Records – SMX-56983 Credits Drums – Randy Jones Piano – Dave Brubeck Producer – Russell Gloyd Producer, Electric Bass, Bass Trombone – Chris Brubeck Tenor Saxophone, Electric Bass – Jerry Bergonzi Other versions Category Artist Title (Format) Label Category Country Year The Dave CJ-129 Tritonis (LP) Concord Jazz CJ-129 US 1980 Brubeck Quartet L 37476, The Dave Interfusion, L 37476, New Tritonis (LP) 1980 CJ-129 Brubeck Quartet Concord Jazz CJ-129 Zealand The Dave Tritonis (LP, CJ-129 Concord Jazz CJ-129 US 1980 Brubeck Quartet DBX) The Dave Tritonis (CD, 505.RU Limited Edition 505.RU Russia 1998 Brubeck Quartet Unofficial) The Dave CCD-4129 Tritonis (CD) Concord Jazz CCD-4129 US 1995 Brubeck Quartet Related Music albums to Tritonis by The Dave Brubeck Quartet The Dave Brubeck Quartet - Jazz Impressions Of Eurasia The Dave Brubeck Quartet - Cable Car / Theme From Elementals The Dave Brubeck Quartet - Georgia On My Mind Dave Brubeck Quartet, The - Jazz Goes To College The Dave Brubeck Quartet - The Dave Brubeck Quartet In Europe The Dave Brubeck Quartet Featuring Paul Desmond - Dave Brubeck Quartet Dave Brubeck Quartet, Trio And Duo - Southern Scene Jimmy Rushing & Dave Brubeck And Friends - All That Jazz, Vol. -
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. -
The B-G News February 8, 1955
CORE Metadata, citation and similar papers at core.ac.uk Provided by Bowling Green State University: ScholarWorks@BGSU Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 2-8-1955 The B-G News February 8, 1955 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The B-G News February 8, 1955" (1955). BG News (Student Newspaper). 1228. https://scholarworks.bgsu.edu/bg-news/1228 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. Gieen Sta(e Trustees Discuss Plans LIBRARY For Campus Buildings The University Board of Trus- * * * ^Ik-GJtws tees met Friday. Jan. 28, before the afternoon commencement ex- ercises, and acted primarily on Dorm Named building- proposals which will con- IWfitw Green State XJniuersitu vert the Bowling Green campus into the boom town of construc- For Alice Prout VoL 39 tion within the year. The women's dormitory now un- Official Student Publication. Bowling Green. Ohio. Tuesday, February 8. 19S5 Number 28 Plans are well under way for der construction was officially restoring the Graphic Arts Bldg. named Alice Prout Residence Hall Construction of the new Music Bid*, and the University Union by the University's Board of Trus- Rushees Attend is sceduled to begin this summer. -
Marking Time and Sounding Difference: Brubeck, Temporality and Modernity
Popular Music (2010) Volume 29/3. Copyright © Cambridge University Press 2010, pp. 351–371 doi:10.1017/S0261143010000243 Marking time and sounding difference: Brubeck, temporality and modernity ANDY BIRTWISTLE Department of Media, Canterbury Christ Church University, Canterbury CT2 7HD, UK E-mail: [email protected] Abstract In critical writing on the music of Dave Brubeck, little attention has been paid to the use of poly- rhythm, despite the fact that this has been central to Brubeck’s approach to jazz since the late 1940s. Focusing on work recorded by the ‘classic’ Dave Brubeck Quartet, the article aims to re-evalu- ate Brubeck’s use of polyrhythm by situating it within a cultural history of modernity, rather than the established discourses of jazz musicology. The article revisits the early 1960s to reconstruct the context provided for the music not only by articles printed in the music press, but also by news stories and features run in the popular press, and by the visual signifiers that coalesce around Brubeck. Articulated through the key tropes of modernity and difference, the press’s construction of Brubeck during this period signals the broad cultural context of Modernism as an alternative frame within which his musical practice might be usefully situated. The article explores how two key cultural arte- facts emerging from this context – Brubeck’s Oakland home, and the Miró canvas featured on the cover of the album Time Further Out – might serve to provide a productive means by which to re-evaluate the radical potential of Brubeck’s polyrhythm. Introduction I wanted to do things polyrhythmically because I thought that jazz was much too tame. -
Campus Chest Project for Charity Emphasizes," Don't Pass the Buck
ampgfj ire VOLUME NO. 47 ISSUE 4 UNIVERSITY OF NEW HAMPSHIRE, DURHAM, N. H. — FEBRUARY 28, 1957 PRICE — SEVEN CENTS Frosh Camp Board Brubeck Featured In Size Increased; Move Participation Coming Jazz Concert By Nancy Webster Rhythm will resound in the Field House Monday, March 4, at 8 p.m. when the Dave Brubeck Quartet appears as the third The Freshman Camp Policy Board, presentation in the 1956-57 Blue and White Series. In the past which has previously been dominated by campus religious organizations, is being few years the Quartet has won unprecedented popular acclaim and reorganized toward secular all-campus the extravagant praise of such jazz critics as Nat Hentoff, George service. Last year’s Board, viewing our Avakian, and Barry Ulanov. Camp, which is one of the largest single Featured in the Quartet are Paul Desmond’s lyrical alto sax, freshman camps in the country, as well as having a very high percentage of fresh Bob Bate’s imaginative bass, Joe Dodge’s daring on the drums, and Dave Brubeck’s men attending (a,bout % ), voted to have broader-based representation. They felt Carnival Capers genius at the piano. With the exception of such a camp should have wider campus an occasional few bars of introduction representation and a place for some mem and closing, the Quartet uses no arranged bers of the University staff experienced in Conclude Except or composed music but improvises on the work and interested in the UNH popular tunes ■x— some recent, others less so. project. The result of the change is an enlarge For Memories Some of Brubeck’s techniques are class ical, but because the core is improvision, ment from 12 to 16 members, the loss Warm weather and sunny skies pre the essence is jazz.