Artist: Dave Brubeck
Genre(s):
Jazz
Discography:
Late Night Brubeck
Year: 2005
Tracks: 8
Time Changes
Year: 2004
Tracks: 7
Private Brubeck Remembers (CD 2)
Year: 2004
Tracks: 10
Private Brubeck Remembers (CD 1)
Year: 2004
Tracks: 14
Time Further Out
Year: 2003
Tracks: 11
Park Avenue South
Year: 2003
Tracks: 10
Ken Burns Jazz Series: Dave Brubeck
Year: 2001
Tracks: 15
One Alone
Year: 1999
Tracks: 13
The 40Th Anniversary Tour Of Tour Of The Uk
Year: 1998
Tracks: 9
So What's New
Year: 1998
Tracks: 11
Time Out
Year: 1997
Tracks: 7
In Their Own Sweet Way
Year: 1997
Tracks: 10
Nightshift - Live at the Blue Note
Year: 1995
Tracks: 9
For Iola
Year: 1990
Tracks: 7
Reflections
Year: 1985
Tracks: 8
Paper Moon
Year: 1982
Tracks: 7
All The Things We Are
Year: 1976
Tracks: 5
We're All Together Again For The First Time
Year: 1972
Tracks: 6
Dave In Disneyland
Year: 1966
Tracks: 8
Countdown: Time in Outer Space
Year: 1962
Tracks: 12
Jazz At College Of The Pacific
Year: 1953
Tracks: 6
Time In
Year:
Tracks: 11
Park Avenue South (Live)
Year:
Tracks: 10
Double Live From the U.S.A. and U.K. (Live) (CD2)
Year:
Tracks: 8
Double Live From the U.S.A. and U.K. (Live) (CD1)
Year:
Tracks: 9
Concord on a Summer Night
Year:
Tracks: 5
Dave Brubeck has long served as proof that creative jazz and popular success canful go together. Although critics world Health Organization had championed him when he was unknown seemed to contempt him when the Dave Brubeck Quartet became a surprise success, in world Brubeck never watered down or adapted his music in order to acquire a wide-eyed audience. Creative engagement (being unmatched of the showtime groups to play on a regular basis on college campuses) and a bit of fortune resulted in capital popularity, and Dave Brubeck remains one of the few home name calling in nothingness.
From closely the start, Brubeck enjoyed utilizing poly-rhythms and polytonality (performing in two keys at erstwhile). He had classical training from his mother, only fooled her for a long flow by memorizing his lessons and non eruditeness to show music. He studied music at the College of the Pacific during 1938-1942. Brubeck light-emitting diode a service isthmus in General Patton's Army during World War II and and so, in 1946, he started studying at Mills College with the classical composer Darius Milhaud, world Health Organization encouraged his students to play jazz. During 1946-1949, Brubeck light-emitting diode a mathematical group for the most part consisting of swain classmates, and they recorded as the Dave Brubeck Octet; their music (released on Fantasy in 1951) static sounds sophisticated today, with complex fourth dimension signatures and some polytonalism. The vIII was too chemical group to make much work, so Brubeck formed a trio with drummer Cal Tjader (world Health Organization two-fold on vibes) and bassist Ron Crotty. The trio's Fantasy recordings of 1949-1951 were quite an popular in the Bay Area, but the mathematical group came to an end when Brubeck hurt his back up during a serious swimming accident and was put out of action for months.
Upon his return in 1951, Brubeck was persuaded by altoist Paul Desmond to make the grouping a quartet. Within two old age, the band had turn surprisingly popular. Desmond's cool-toned alto and speedy mentality fit in well with Brubeck's much heavy chording and data-based playing; both Brubeck and Desmond had original sounds and styles that owed small to their predecessors. Joe Dodge was the band's early drummer simply, after he tired of the route, the virtuosic Joe Morello took his property in 1956; piece the revolving bass chairperson finally settled on Eugene Wright in 1958. By then, Brubeck had followed his popular series of Fantasy recordings with some big sellers on Columbia, and had appeared on the wrap up of Time (1954). The brobdingnagian success of Paul Desmond's "Take Five" (1960) was followed by many songs played in "odd" time signatures such as 7/4 and 9/8; the high quality soloing of the musicians kept these experiments from sounding care gimmicks. Dave and Iola Brubeck (his married woman and lyrist) put together an anti-racism demo featuring Louis Armstrong (The Real Ambassadors) which was recorded, merely its only if public appearance was at the Monterey Jazz Festival in the early '60s.
The Dave Brubeck Quartet perpetually traveled around the world until its dissolution in 1967. After some time off, during which he wrote religious works, Brubeck came back the following year with a new quatern featuring Gerry Mulligan, although he would take several reunions with Desmond ahead the altoist's death in 1977. Brubeck coupled with his sons Darius (keyboards), Chris (electric bass and bass trombone), and Danny (drums) in Two Generations of Brubeck in the 1970s. In the early '80s, tenor saxophonist Jerry Bergonzi was in the Brubeck Quartet, and beginning in the mid-'80s, clarinettist Bill Smith (wHO was in the original octet) alternated with altoist Bobby Militello.
There is no shortfall of Dave Brubeck records currently available, practically everything he trim back for Fantasy, Columbia, Concord, and Telarc ar well-off to place. Brubeck, whose compositions "In Your Own Sweet Way," "The Duke," and "Blue Rondo a la Turk" take become standards, remained very officious (contempt some bouts of forged health) into the 2000s.
