Evaluation of the Work of Jazz Pianist/Composer Dave Brubeck
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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. -
Pops Prevails
Journal of Jazz Studies vol. 8, no. 1, pp. 93-99 (Spring 2012) Pops Prevails Edward Berger What a Wonderful World: The Magic of Louis Armstrong’s Later Years. By Ricky Riccardi. New York: Pantheon, 2011. 369 pp. $28.95. Louis Armstrong’s later work is a far more controversial subject than one would expect, given his universal recognition as jazz’s seminal creator and, at one time, arguably the world’s most recognizable figure. But it is precisely his success in these two disparate and, to many, incompatible roles that led some critics to ignore his later artistic achievements and to bemoan what many viewed as his abandonment of his genius in pursuit of popular acceptance. Add to that the uneasiness engendered in some circles by Armstrong’s complex stage persona, and the controversy becomes more understandable. Ricky Riccardi makes abundantly clear in this new and valuable work that, although Armstrong may have devoted his entire life to entertaining his audience, it did not preclude serious artistic achievement at all stages of his career. Most writers, Riccardi included, use the transition from Armstrong’s leadership of his big band to the formation of the All Stars in 1947 as the demarcation between early and late Armstrong. Since Armstrong recorded from 1923 to 1971, his “late” period spanned some 24 years—exactly half of his entire recording career. Moreover, some critics felt that Armstrong’s contributions as a creative improviser ended even earlier, essentially dismissing much of his output after the Hot Fives and Hot Sevens. It is interesting to note how our concept of age has changed over the decades. -
The Exotic Rhythms of Don Ellis a Dissertation Submitted to the Peabody Institute of the Johns Hopkins University in Partial Fu
THE EXOTIC RHYTHMS OF DON ELLIS A DISSERTATION SUBMITTED TO THE PEABODY INSTITUTE OF THE JOHNS HOPKINS UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS BY SEAN P. FENLON MAY 25, 2002 © Copyright 2002 Sean P. Fenlon All Rights Reserved ABSTRACT Fenlon, Sean P. The Exotic Rhythms of Don Ellis. Diss. The Peabody Institute of the Johns Hopkins University, 2002. This dissertation examines the rhythmic innovations of jazz musician and composer Don Ellis (1934-1978), both in Ellis’s theory and in his musical practice. It begins with a brief biographical overview of Ellis and his musical development. It then explores the historical development of jazz rhythms and meters, with special attention to Dave Brubeck and Stan Kenton, Ellis’s predecessors in the use of “exotic” rhythms. Three documents that Ellis wrote about his rhythmic theories are analyzed: “An Introduction to Indian Music for the Jazz Musician” (1965), The New Rhythm Book (1972), and Rhythm (c. 1973). Based on these sources a general framework is proposed that encompasses Ellis’s important concepts and innovations in rhythms. This framework is applied in a narrative analysis of “Strawberry Soup” (1971), one of Don Ellis’s most rhythmically-complex and also most-popular compositions. iii ACKNOWLEDGMENTS I wish to extend my heartfelt thanks to my dissertation advisor, Dr. John Spitzer, and other members of the Peabody staff that have endured my extended effort in completing this dissertation. Also, a special thanks goes out to Dr. H. Gene Griswold for his support during the early years of my music studies. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Music Can Bring World's Voices Together, Catholic Jazz Icon Says
Music can bring world’s voices together, Catholic jazz icon says CINCINNATI – Music can be the language to help bring people together, crossing any nation’s boundary and driving freedom throughout the world, said jazz icon Dave Brubeck. Fifty years after the taping of his signature tune “Take Five,” the musician will be honored Dec. 6 with a lifetime achievement award from the Kennedy Center for the Performing Arts in Washington. In 2006 he was the recipient of the University of Notre Dame’s 2006 Laetare Medal. Brubeck, 88, discussed faith, sacred music, jazz and the importance of cross-cultural and international exchange with St. Anthony Messenger magazine in an article in the October 2009 issue. In 1958, Brubeck led his Dave Brubeck Quartet on a 14-country “goodwill” tour through Europe, the Middle East and Central Asia. The following year, the group recorded “Time Out,” the first jazz album to sell more than 1 million copies. The breakthrough album featured incorporated rhythms and beats from other cultures. “Something I had wanted to do was to experiment in different time signatures,” Brubeck said, explaining that early jazz reflected “simple marching beats” and not the complicated African- and Asian-influenced rhythmic sounds of drum choruses. Time, irregular meters and music drawing on other cultural idioms figure prominently in Brubeck’s music following “Time Out”: “Time Further Out” (1961); “Countdown: Time in Outer Space” (1962); “Time Changes” (1963); and “Time In” (1965). “Jazz represents freedom, freedom musically and politically,” he said. He noted that his 1958 tour targeted countries such as Afghanistan, Iran, Iraq, Pakistan, Turkey and India and was meant to show “how important freedom is.” “This kind of cross-cultural thing is something we should sponsor more because it is so important … to the world,” said Brubeck, who has performed for nine U.S. -
Dave Brubeck's Definitive “Jazzanians”
Journal of Jazz Studies vol. 9, no. 1, pp. 53-93 (Summer 2013) Dave Brubeck’s Definitive “Jazzanians” Vasil Cvetkov On December 5, 2012, American contemporary music lost one of its most important personalities—pianist and composer Dave Brubeck, who died one day before his 92nd birthday. His death marks the passing of one of the most creative and versatile musicians in American history. Widely known as an innovative jazz musician, Brubeck’s skills in writing and arranging music for classical ensembles went far beyond jazz traditions, making him a subject of interest and investigation for contemporary music researchers. He became an emblematic figure for those, who, like me, received a classical music upbringing and became fascinated by his ability to fuse jazz and classical sources into the specific style that eventually became his trademark. Despite having received a classical education, I have always been attracted by the jazz sound, so that discovering and demonstrating the plenitude of Brubeck's legacy became a natural research goal in my graduate studies. In planning this personal tribute to the late Dave Brubeck, I came to the conclusion that, perhaps, the most eloquent examples of his unique compositional style could be demonstrated around the story of a little tetrachord. Throughout a period of 17 years (1987-2003), it inspired Brubeck to create five important compositions and came to be known, by those who love Brubeck's music, as the “Jazzanians tetrachord.” The compositions varied in form, covering the full spectrum of jazz, classical, and fusion styles. I call these compositions “realizations.” Trying to trace Brubeck’s realizations chronologically through that 17- year period, I first examined published scores but discovered that there were mysterious gaps. -
Jazzletter I PO Box 240, Ojai CA 93024-0240 March 2005“ Vol
GeneLeasAdLibitum 6- I Jazzletter I PO Box 240, Ojai CA 93024-0240 March 2005“ Vol. 23 No. 3 must look to black authority figures to validate the life and The Worlds of Paul Desmond work ofajazz musician, it is notable that Charlie Parker, one of the supreme icons of this music, was several times on In the first paragraph of a Foreword to Take Five, Doug record that Paul was his favorite alto player. That they were Rarnsey’s superbly researched biography ofPaul Desmond, also friends is something I did not know. That is documented Dave Brubeck asserts: in this book. ’ “Paul Desmond was an enigma. I considered him my best I once did a radio interview with Paul in which he said he friend. Yet, for a couple ofyears in my life I vowed I would went far out of his way not to sound like Charlie Parker, in never speak to him again. The rifi eventually healed and for a time when seemingly every young player was trying to do three decades we were as close as brothers.” so. He said there was enormous pressure on young players, Darius Brubeck, one of Dave’s sons, for many years a during his fonnative years, to emulate Parker. He called it “a jazz teacher in South Africa and England, told me he was kind ofmusical McCarthyism.” Much ofwhat Paul said was about twelve before he realized that Paul wasn’t actually his frmny not only for its content but his manner of speech, his uncle. idiosyncratic inflections, which ofcourse cannotbe captured “From the very first,” Dave says in that introduction, “we on paper. -
Hilary Geddes
Sydney Undergraduate Journal of Musicology Vol. 6, December 2016 Language, Rhythm and Legitimacy Issues: An Examination of Factors Contributing to the Success of Time Out HILARY GEDDES In short: “Time Out” is a first experiment with time, which may well come to be regarded as more than an arrow pointing to the future. Something great has been attempted… and achieved. The very first arrow has found its mark. – Steve Race, 19591 In 1959, the Dave Brubeck Quartet released Time Out on Columbia Records. Critics and media alike heralded the album as being innovative at the time of release and Time Out subsequently became the first jazz album to sell 500,000 copies.2 Brubeck himself would be strongly associated with the album’s singles “Take Five” – which was in fact written by alto saxophonist Paul Desmond – and “Blue Rondo à la Turk” for the duration of his career.3 As the leader and public face of the quartet, Brubeck’s compositions, and those by other members of the quartet such as Desmond, have often been conflated by the public as being solely Brubeck’s. Time Out’s success was attributed to Brubeck’s exploration of rhythm, specifically the use of uneven metres, polyrhythms and metric modulations, which were perceived as being unusual within the jazz idiom at the time of release.4 Yet upon investigating the historical development of these rhythmic devices within the jazz genre, primarily through listening to the discographies of various artists, it has become apparent that other jazz musicians were experimenting with rhythm in these ways before 1959. -
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. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
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 Iola Brubeck (August 14, 1923 – March 12, 2014) 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. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 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. -
1962 Monterey Jazz Festival Program Pages Concerning the Real
• • • • • I e, . SUNDAY EVENING, ·SEPT. 23 Early Starling Time al 7:15P.M. Sharp 1. DIZZY GILLESPIE and the Trummy Young MONTEREY BRA.SS Joe Darensbourg Billy Cronk ENSEMBLE Danny Barcelona Joe Morello 2. JEA.NNE LEE and Eugene Wright RA.N BLAKE Entr'acte In keeping with the Monterey Jazz Festival's policy of 4. JEA.NNE LEE and introducing new talent, this unusual duo is making its West coast debut at the Festival. RA.N BLA.KE Entr'acte 3. "THE REA.L A.MBA.SSA.DORS" (excerpts) An original musical production with music and lyrics 5. LOUIS ARMSTRONG by Dave and lola Brubeck, featuring .. • A.ND HIS A.LL-STA.RS Louis Armstron9 With ... Jewel Brown, vocal Carmen McRa, Trum.my Young, trombone and vocal Dave Brubeck Joe Darensbourg, clarinet Lambert, Hendricks and Billy Kyle, piano Bill Cronk, bass Yolande Danny Barcelona, drums with ... And ... Billy Kyle LOUIS ARMSTRONG WORLD PREMIERE OF DAVE AND lOLA BRUBECK'S original musical production ••THE REAL AMBASSADORS~~ starring LOUIS ARMSTRONG CARMEN McRAE DAVE BRUBECK LAMBERT, HENDRICKS & YOLANDE The theme of "The Real Ambassadors" is contained On dosing night of the Monterey Jazz Festival, Sun in the title. Louis Armstrong, Brubeck, Dizzy Gillespie day, September 23 (at 7: 15 p.m. sharp) , one of the - all of whom have made extensive and highly ac most ambitious and unusual programs ever presented claimed overseas tours under the auspices of the U. S. on any festival stage will be given its first public per- Department of State - are the "real ambassadors" formance. · representing America to foreign peoples. -
Bruce Walker Musical Theater Recording Collection
Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN