DAVE BRUBECK - Early Years (The Singles Collection 1950 - 52)
Acrobat Music ADDCD3389 2 CDs (50 tracks)
This is a good way of investigating the genesis of one of the most thought-provoking pianists and leaders jazz has produced. The two CDs contain recordings of the trio, the quartet and the octet. Of course, it also features some of the first recordings by Paul Desmond. In all. there are sixteen trio recordings, eight octet recordings and seventeen by the quartet. A twenty-page booklet or insert is included. Paul Watts wrote the notes which cover the early period from 1950 to 1952 in some detail. The whole package is essential for anyone who wants to complete their understanding of this complex pianist - leader.
The early life of Brubeck was very different from most jazz musicians. His mother had studied classical music in London and was intent on following a career in music. This was thwarted when Brubeck senior bought a ranch in California. Brubeck, encouraged by his mother, studied with Darius Milhaud. All those elements gave Brubeck an individualistic style.
It is only recently that Brubeck's playing has been given some real critical attention rather than the constant condemnation that often characterized the comments about him when compared with Paul Desmond. It is often forgotten that musicians such as Charles Mingus or Cecil Taylor found much to admire in Brubeck's playing.
The first octet sides (not included here) were recorded in California in 1946, 1947 and 1948. The octet tracks here were recorded in 1950. The music of the octet has been compared to the Mulligan/Davis Birth of the Cool band, although the first octet recordings were written well before the Birth of the Cool sides were recorded. It could be argued that the writing for the octet was very influential on other west coast writers. The cool counterpoint has a cerebral quality that is found later on in work by Bill Holman, Manny Albam, Marty Paich, Shorty Rogers, Gerry Mulligan, Pete Rugolo, Gil Evans. Listen to the counterpoint on ‘The Way You Look Tonight’ or the writing on ‘Fugue on Bop’ both written or arranged by Dave Van Kriedt.
Clarinetist Bill Smith appears on the octet sides and he contributes three of the arrangements. Smith did, of course, return to play with Brubeck after Paul Desmond left the quartet. Trumpeter Dick Collins who eventually worked with Woody Herman is featured on the octet sides.
Brubeck could be influenced by the styles of his time. The arrangement of ‘I’ll Remember April’ is pure George Shearing complete with vibes played by Cal Tjader. One important point is, at that time, Brubeck was constrained by the limits of 78 rpm discs and so his later practice of building a solo with increasing intensity over time is deterred.
The seventeen pieces by the Brubeck- Desmond quartet are interesting because they show how their contrasting styles developed as well as their interactions. There is the fluidity of the improvisations of Paul Desmond plus the rather craggy interpretations of Brubeck. It is easy to see how they became popular by appealing to the intellectual aspirations of the college generation of the early 50s.
Reviewed by Jack Kenny
Acrobat Music ADDCD3389 2 CDs (50 tracks)
This is a good way of investigating the genesis of one of the most thought-provoking pianists and leaders jazz has produced. The two CDs contain recordings of the trio, the quartet and the octet. Of course, it also features some of the first recordings by Paul Desmond. In all. there are sixteen trio recordings, eight octet recordings and seventeen by the quartet. A twenty-page booklet or insert is included. Paul Watts wrote the notes which cover the early period from 1950 to 1952 in some detail. The whole package is essential for anyone who wants to complete their understanding of this complex pianist - leader.
The early life of Brubeck was very different from most jazz musicians. His mother had studied classical music in London and was intent on following a career in music. This was thwarted when Brubeck senior bought a ranch in California. Brubeck, encouraged by his mother, studied with Darius Milhaud. All those elements gave Brubeck an individualistic style.
It is only recently that Brubeck's playing has been given some real critical attention rather than the constant condemnation that often characterized the comments about him when compared with Paul Desmond. It is often forgotten that musicians such as Charles Mingus or Cecil Taylor found much to admire in Brubeck's playing.
The first octet sides (not included here) were recorded in California in 1946, 1947 and 1948. The octet tracks here were recorded in 1950. The music of the octet has been compared to the Mulligan/Davis Birth of the Cool band, although the first octet recordings were written well before the Birth of the Cool sides were recorded. It could be argued that the writing for the octet was very influential on other west coast writers. The cool counterpoint has a cerebral quality that is found later on in work by Bill Holman, Manny Albam, Marty Paich, Shorty Rogers, Gerry Mulligan, Pete Rugolo, Gil Evans. Listen to the counterpoint on ‘The Way You Look Tonight’ or the writing on ‘Fugue on Bop’ both written or arranged by Dave Van Kriedt.
Clarinetist Bill Smith appears on the octet sides and he contributes three of the arrangements. Smith did, of course, return to play with Brubeck after Paul Desmond left the quartet. Trumpeter Dick Collins who eventually worked with Woody Herman is featured on the octet sides.
Brubeck could be influenced by the styles of his time. The arrangement of ‘I’ll Remember April’ is pure George Shearing complete with vibes played by Cal Tjader. One important point is, at that time, Brubeck was constrained by the limits of 78 rpm discs and so his later practice of building a solo with increasing intensity over time is deterred.
The seventeen pieces by the Brubeck- Desmond quartet are interesting because they show how their contrasting styles developed as well as their interactions. There is the fluidity of the improvisations of Paul Desmond plus the rather craggy interpretations of Brubeck. It is easy to see how they became popular by appealing to the intellectual aspirations of the college generation of the early 50s.
Reviewed by Jack Kenny
