The Dave Brubeck Quartet Featuring Paul Desmond

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The Dave Brubeck Quartet Featuring Paul Desmond

The Dave Brubeck Quartet Stardust mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Stardust Country: Europe Released: 1990 Style: Bop, Cool Jazz MP3 version RAR size: 1204 mb FLAC version RAR size: 1429 mb WMA version RAR size: 1853 mb Rating: 4.6 Votes: 705 Other Formats: WAV FLAC DMF MIDI RA MOD DTS Tracklist 1 Mam 'Selle 2:50 2 Stardust 6:49 3 Frenesi 2:35 4 Me And My Shadow 2:26 5 At A Perfume Counter 2:50 6 Crazy Chris 3:19 7 A Foggy Day 3:07 8 Somebody Loves Me 3:18 9 Lyons Busy 3:12 10 Look For The Silver Lining 3:40 11 Stardust 3:01 12 At A Perfume Counter 14:35 13 Alice In Wonderland 3:35 14 All The Things You Are 3:20 15 Lulu's Back In Town 2:35 16 My Romance 3:12 17 Just One Of Those Things 3:07 Companies, etc. Phonographic Copyright (p) – Fantasy, Inc. Copyright (c) – Fantasy, Inc. Remastered At – Fantasy Studios Credits Alto Saxophone – Paul Desmond Art Direction – Phil Carroll Bass – Norman Bates (tracks: 2, 12), Wyatt "Bull" Ruther* (tracks: 1, 3, 5, 7 to 11, 13 to 17) Bass, Bassoon – Fred Dutton (tracks: 6 to 8) Drums – Herb Barman (tracks: 4 to 11), Joe Dodge (tracks: 2, 12), Lloyd Davis (tracks: 1 to 3, 13 to 17) Liner Notes – Philip Elwood Piano – Dave Brubeck Remastered By [Digitally] – Kirk Felton Notes Recoded in Sanfrancisco between August 1951 and September 1952 except tracks 2 & 10, recorded in Berkeley: March 1, 1954 Compiles the 1956 LPs Brubeck Desmond [Fantasy 8092] and The Dave Brubeck Quartet with Paul Desmond [Fantasy 8093]. Barcode and Other Identifiers Barcode: 090204088904 Label Code: LC 0720 Rights Society: GEMA SPARS Code: AAD Other versions Category Artist Title (Format) Label Category Country Year The Dave Brubeck The Dave Brubeck Quartet F-24728 Quartet Featuring Featuring Paul Desmond - Fantasy F-24728 US 1983 Paul Desmond Stardust (2xLP, Comp, RM) Related Music albums to Stardust by The Dave Brubeck Quartet Dave Brubeck Quartet Featuring Paul Desmond - Jazz At The College Of The Pacific Dave Brubeck & Paul Desmond - Moods & Grooves Dave Brubeck, Paul Desmond - Brubeck & Desmond 1975: The Duets The Dave Brubeck Quartet Featuring Paul Desmond - Dave Brubeck Quartet Desmond - Desmond The Dave Brubeck Quartet ,Featuring Paul Desmond - Jazz At Oberlin Paul Desmond - Paul Desmond 1956 The Paul Desmond Quintet - Desmond Dave Brubeck and Paul Desmond - 1975: The Duets Dave Brubeck & Paul Desmond - At Wilshire-Ebell.

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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.
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Jazz Poll Results, 1950
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES E: CLIPPINGS BOX 6: CLIPPINGS---JAZZ POLL RESULTS, 1950- 1E.6.1: POLLS, 1950s a- Down Beat, 12-15-50, pg. 1, 19 [9th combo/instrumental; 25th piano] b- Metronome, 2-51, pg. 25 [11th piano; 24th arranger] c- Metronome Jazz Yearbook 1951 [DB cited as Small Band of the Year, p. 13; incl. biog & photo; 3 copies] d- Fantasy Records, 2-53. [Favorite Small instruments groups of the year. 1951 DB #17, 1953 DB #7 Fantasy 139] e- Down Beat, 8-26-53, pg. 7 [1st combo; 7th piano] f- Metronome, 2-54, pg. 14 [1st small groups; 2nd piano; Desmond is 3rd alto sax] g- Steve Race. Melody Maker, “Eight LPs to start with.” Starting points suggestions, Brubeck No. 4. Jazz at Oberlin h- Down Beat, 12-29-54, pg. 6-7 [1st combo; 2nd piano; personality of the year; Desmond is 2nd alto sax] i- Down Beat, 12-28-55, pp. 7, 10-11 [1st combo; 2nd piano; personality of the year; Desmond is 1st alto sax] j- Down Beat, 12-26-56, pp. 12, 16 [2nd combo; 3rd piano; 21st composer; 4th personality of the year; Desmond is 1st alto sax] k- “Success of the Year", Jazz, Dave Brubeck, Metronome Yearbook, 1955 l- Metronome, 1-57, pg. 17 [1st piano; Desmond is 1st alto sax] m- Playboy, 2-57, pg. 24 [6th leader; 1st piano; 1st combo; Desmond is 1st alto sax; Morello is 15th drummer] n- Down Beat, 5-30-57, pp. 12, 24 [Disc Jockey Poll---7th & 10th best LPs of year] o- Melody Maker, “The World’s greatest; international poll results.
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Mills College Pushes the Limits of Contemporary Sound, Oakland Magazine
The Evolution Mills College Pushes n 1946,a young pianist from Concord, Calif., fresh from his army service in World War II, enrolled as a graduate student in music at Mills College iIn Oakland. He had chosen Mills, best known as a liberal arts school for women, because his older brother was teaching music there under Darius Milhaud, the prolific jazz-influenced French composer who had emigrated to Oakland from war- torn Paris in 1940. Although David Warren Brubeck did not finish his master’s degree, he did launch an illustrious jazz career while studying polytonality and polyrhythms with Milhaud: By 1951 he had formed the immensely popular Dave Brubeck Quartet, which, among other accomplishments, recorded the best-selling jazz single of all time, 1959’s “Take Five.” Brubeck may be Mills College’s most famous former music student, but he is hardly the lone star on a roster that includes Grateful Dead bassist Phil Lesh, minimalist composer Steve Reich, pop performance artist Laurie Anderson and current freak- folk star Joanna Newsom. Nonetheless, the music program at Mills remains one of Oakland’s best-kept secrets, better known to avant-garde music connoisseurs worldwide than to general music audiences in the Bay Area. “Because we are progressive and try to push the limits, what we do here is mar- ginalized on the boundaries of the music world,” says David Bernstein, who has taught music theory, analysis and historical musicology at Mills since 1989. “The Bay Area is a free-thinking place, but new Percussion instructor William Winant (this page) strikes out toward the future in his Mills College studio.
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Performing Authenticity “In Your Own Sweet Way”
Journal of Jazz Studies vol. 12, no. 1, pp. 72-91 (2019) Performing Authenticity “In Your Own Sweet Way” Kelsey A. Klotz In a 2001 interview for a PBS documentary titled Rediscovering Dave Brubeck, jazz critic Ira Gitler volunteered that the songs “In Your Own Sweet Way” and “The Duke,” both Dave Brubeck originals, became jazz standards “when Miles Davis played them, that gave them the official stamp of approval.”1 When inter- viewer Hedrick Smith asked Gitler why Davis could give the songs a stamp ap- proval that Brubeck himself could not, Gitler responded, “Well because Miles Davis, in giving his stamp of approval to these Brubeck compositions by recording them, here was a black jazz man who was respected in both the black and white circles, and when he did it black people had to say, you know, ‘that’s cool.’”2 Put simply, Davis’s versions were “cool”—were somehow authentic—while Brubeck’s versions were not, despite being considered by most critics and audiences to be part of the cool jazz genre. In distinguishing between these uses of the term “cool,” Gitler rooted Davis’s authenticity and jazz authority in his blackness, implying that Brubeck’s whiteness kept him from achieving the same status. However, it was not enough for Davis to be accepted as an authority figure by black musicians, critics, and audiences; as Gitler notes, Davis’s authority also came from “white circles.” For Gitler, Davis only “counted” when white critics and au- diences saw and heard him; however, his authority in jazz could only be deter- mined by black people who said, “that’s cool.” But despite being recognized by black and white audiences, Gitler attributed Davis’s authenticity to his blackness, and the blackness of those confirming his authority, rather than his musical, sty- listic, or improvisational prowess, which ultimately diminished the extent to which Davis was recognized by whites beyond his race.
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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.
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Brubeck Book.Book
Regional Oral History Office University of California The Bancroft Library Berkeley, California Dave and Iola Brubeck A LONG PARTNERSHIP IN LIFE AND MUSIC With introductions by Caroline C. Crawford and J. B. Dyas An Interview Conducted by Caroline C. Crawford in 1999 and 2001 Copyright © 2006 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of northern California, the West, and the nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Dave and Iola Brubeck, dated September 30, 1999. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
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DAVE BRUBECK NEA Jazz Master (1999) Interviewees
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAVE BRUBECK NEA Jazz Master (1999) Interviewees: Dave Brubeck (December 6, 1920 – December 5, 2012) with Russell Gloyd and (August only) Iola Brubeck Interviewers: Ted Gioia with recording engineer Ken Kimery Date: August 6-7, 2007 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 90 pp. Track markers were accidentally embedded into the original recording in such a way as to lose a few words at the breaks. Square brackets and five spaces – [ ] – indicate these small gaps in the transcription. Brubeck: There’s two cats in this house, and I don’t mean jazz musicians. But I haven’t heard them or seen them, so they probably are hiding. Gioia: They’re checking us out. Brubeck: This is a new house that – Chris had a house on the other side of town and got a pretty good deal and was able to have room for the first time in his life for a studio. He’s been writing so much – always new things. Gioia: It’s important to have the right setting. [microphone adjustment] Kimery: When you’re ready. Gioia: This is Ted Gioia. We are at Chris Brubeck’s house in Wilton, Connecticut, conducting an oral history with Dave Brubeck as part of the Smithsonian’s program of conducting oral histories with NEA [National Endowment for the Arts] Jazz Masters. 1 2 Today is August 6, 2007. Our plan is to conduct the oral history over a two-day period, today and tomorrow, August 7.
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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.
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Concert Programs Box 1: Programs, 1934-1959
1 HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES I: PAPERS SUBSERIES F: CONCERT PROGRAMS BOX 1: PROGRAMS, 1934-1959 1.F.1.1: 1934-1947 a- [Ione School] Student Concert, c1934 [DB in choir for “Double-crossed” an operetta] b- Mills College Composition Students---Oakland CA, May 15, 1946 [Two Preludes; DB, piano] c- Concert of Music and Dance---Mills College, March 19, 1947 [Gay in Spirit; music by DB] 1.F.1.2: 1948-1949 a- Phi Mu Alpha Recital, University of the Pacific, Stockton CA, Jan 17, 1949 [arr. jazz incl. DB “Laura” Miniature Dance Suite; “jam session”; The Jazz Workshop Ensemble (The Dave Brubeck Octet)] b- Marines Memorialm Auditorium---San Francisco CA, Mar 6, 1949 [arr. jazz incl. DB “Laura”; Miniature Dance Suite; “jam session”; The Jazz Workshop Ensemble (The Dave Brubeck Octet)] c- U of California, Berkeley, Apr 3, 1949 [jazz arr. incl. “Stardust” (Desmond) & “Laura” (Brubeck); Miniature Dance Suite; “jam session”; The Jazz Workshop Ensemble (The Dave Brubeck Octet)] d- Mills College Composition Students---Oakland CA, May 19, 1949 [Reminiscences of the Cattle Country; Ruth Strassman, piano] e- Elizabeth Ivey Brubeck presents Terrance Ray O’Reilly in a Piano Recital, Sutter Creek High School, June 26, 1949 1.F.1.3: 1950-1951 a- “The 8" & the DB Trio---Mills College, Oakland CA, Apr 30, 1950 2 [DB, Ron Crotty, Cal Tjader; The Octet; Trio played standards; one DB arr. “Curtain Music” and one composition “Playland-At-The-Beach” played by Octet] b- Young Artists Guild of the West---Santa Rosa [CA] JC, Jan 30, 1951 [Reminiscences of the Cattle Country; Richard Noera, piano] c- Concerts, Inc.
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Reproductions Supplied by EDRS Are the Best That Can Be Made from the Original Document
DOCUMENT RESUME ED 441 534 JC 000 374 AUTHOR Seabrook, John H., Ed. TITLE Community College Humanities Review, 1995. INSTITUTION Community Coll. Humanities Association. PUB DATE 1995-12-00 NOTE 92p.; Published annually. For the 1994 issue, see ED 384 394. AVAILABLE FROM CCHA, Community College of Philadelphia, 1700 Spring Garden Street, Philadelphia, PA 19130 ($5). Tel: 215-751-8850. PUB TYPE Collected Works Serials (022) JOURNAL CIT Community College Humanities Review; v16 Dec 1995 EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS *Community Colleges; *Educational Strategies; *Humanities; Interdisciplinary Approach; *Literature Reviews; Science and Society; Two Year Colleges ABSTRACT This annual volume of the Community College Humanities Review (CCHR) presents a wide range of articles dealing with humanities--from Lloyd Kaplan's attempts to set the record straight (by presenting a more accurate appraisal and a truer perspective of Dave Brubeck's outstanding contribution to the course of jazz) to Walter Krieglstein's exploration of recent discoverieS in basic science (by attempting to evaluate their potential as a stimulus for crossfertilization between the sciences and the humanities). Contained are the fcilowing articles: (1) "Comment 3 at the National Conference of the Community College Humanities Association: Washington, D.C., November 9,1995" (Sheldon Hackney); (2) "Conform, Go Crazy or Take a Nap: Nourishing the Prophetic Vision" (Mary Rose Reilley); (3) "The Legacy of Dave Brubeck" (Lloyd Kaplan); (4) "Interdisciplinary Study: Towards the Millennium" (Maryanne M. Garbowsky); (5) "The Silencing Canon: Native American Texts and Literature Study" (Mary Roseberry); (6) "Life in the Iron Mills: Differing Responses to Moral Responsibility within the Community" (Mary Ellen Byrne); (7) "Can Chaos Theory Close the Gap between the Sciences and the Humanities?" (Walter Krieglstein); and (8)"'There Are No Serbs': The Language of Genocide" (Mark Grimes).(VWC) Reproductions supplied by EDRS are the best that can be made from the original document.
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