Dave Brubeck, designated a "Living Legend" by the Library of Congress, was one of the most active and popular musicians in both the jazz and classical worlds. With a career that spanned over six decades, his experiments in odd time signatures, improvised counterpoint, polyrhythm and polytonality remain hallmarks of innovation.
Born into a musical family in Concord, California - his two older brothers were also professional musicians - he began piano lessons with his mother at age four. He was 12 when his father moved the family to a cattle ranch in the foothills of the Sierras. Dave's life changed dramatically. Piano lessons ended and cowboy life began. He worked with his father on the 45,000 acre cattle ranch. When he was 14, he started playing in local dance bands on weekends. When he enrolled at the College of the Pacific, in Stockton, California, his intention was to study veterinary medicine and return to the ranch. While working his way through school as a pianist in local nightclubs, the lure of jazz became irresistible and he changed his major to music. Graduating in 1942, he enlisted in the Army, and shortly thereafter married Iola Whitlock, a fellow student at Pacific. While serving in Patton's Army in Europe, he led a racially integrated band. After his discharge from military service in 1946, he enrolled at Mills College in Oakland, California to study composition with French composer, Darius Milhaud. Milhaud encouraged him to pursue a career in jazz and to incorporate jazz elements into his compositions. This cross-genre experimentation with like-minded Milhaud students led to the formation of the Dave Brubeck Octet in 1947. In 1949, Brubeck with Cal Tjader and Ron Crotty, fellow Octet members, cut their first award-winning Dave Brubeck Trio recordings. After suffering a near fatal diving accident in 1951, Dave formed the Dave Brubeck Quartet with alto saxophonist Paul Desmond, who was also a member of the Octet. The legendary Brubeck-Desmond collaboration lasted seventeen years and beyond.
The Dave Brubeck Quartet's recordings and concert appearances on college campuses in the ‘50s and early ‘60s introduced jazz to thousands of young people. The Quartet's audiences were not limited to students, however. The group played in jazz clubs in every major city and toured in package shows with such artists as Duke Ellington, Ella Fitzgerald, Charlie Parker, Dizzy Gillespie, and Stan Getz. The Dave Brubeck Quartet repeatedly won top honors in trade magazines and critic's and reader's polls. In 1954 Dave Brubeck's portrait appeared on the cover of Time Magazine with a story about the jazz renaissance and Brubeck's phenomenal ascendancy.
In 1958 the Quartet made their first of many international tours. The U.S. State Department sponsored the Quartet's performances in Poland, India, Turkey, Sri Lanka, Afghanistan, Pakistan, Iran and Iraq. Exposure to many different cultures was reflected in the group's repertoire that sometimes incorporated exotic elements. The 1959 recording "Time Out" experimented in time signatures beyond the usual jazz 4/4. To everyone's surprise "Time Out" became the first jazz album to sell over a million copies and "Blue Rondo a la Turk" and "Take Five" (now in the Grammy Hall of Fame) began to appear on jukeboxes throughout the world.
Early in his career Brubeck wrote primarily for this Quartet, and some of those pieces, such as "In Your Own Sweet Way" and "The Duke" became part of standard jazz repertoire. His first orchestral composition, "Elementals", written for an improvising jazz combo and symphony orchestra was premiered and recorded in 1962. Choreographed by Lar Lubovitch, "Elemental Brubeck" is currently in the repertoire of the San Francisco Ballet and several other dance companies.
Throughout his career Brubeck experimented with integrating jazz into classical forms. In 1959 his Quartet premiered and recorded his brother Howard's "Dialogues for Jazz Combo and Orchestra" with the New York Philharmonic, Leonard Bernstein conducting. In 1960 he composed "Points on Jazz" for the American Ballet Theatre, and in later decades composed for and toured with the Murray Louis Dance Company. His musical theater piece "The Real Ambassadors" starring Louis Armstrong and Carmen McRae was recorded and performed to great acclaim at the 1962 Monterey Jazz Festival.
The "classic" Dave Brubeck Quartet (Paul Desmond, alto sax from 1951; Eugene Wright, bass from 1958; Joe Morello, drums from 1956) was dissolved December 1967. Baritone saxophonist Gerry Mulligan joined a newly formed Dave Brubeck Trio (with Jack Six, bass and Alan Dawson, drums) the following year. This group recorded and toured the world together for seven years. In this period Brubeck also performed with three of his musical sons, Darius, Chris and Dan billed as "Two Generations of Brubeck" frequently with Gerry Mulligan or Paul Desmond as guest artists.
In the ‘80s Brubeck led a quartet that featured clarinetist Bill Smith, a former Octet member, with his son Chris on electric fretless bass and Randy Jones on drums. This group toured the Soviet Union in 1987 and along with former bassist, Eugene Wright, accompanied President Reagan to Moscow to perform at the Reagan-Gorbachev Summit in 1988. Since the Dave Brubeck Quartet's first appearance at a State Dinner for King Hussein of Jordan during the Johnson administration, Brubeck performed at The White House on several occasions and for many different Presidents.
Shortly after the dissolution of the "classic" Quartet, the Cincinnati Symphony Orchestra, with Erich Kunzel conducting, premiered Brubeck's oratorio," The Light in the Wilderness" (February 1968). The following year Brubeck's second major work "The Gates of Justice", a cantata based on the words of Martin Luther King, Jr. and the Old Testament, was also premiered by Kunzel in Cincinnati. It has since been re-recorded by the Baltimore Choral Arts Society, Cantor Abraham Mizrahi, tenor and Kevin Deas, bass-baritone, for the Milken Archive of American Jewish Music, Russell Gloyd conducting.
Throughout his career Brubeck continued to experiment with interweaving jazz and classical music. He performed as composer-performer with most of the major orchestras in the United States and with prestigious choral groups and orchestras in Europe and America. When citing some of the highlights of his career, Dave would always include the premier of his composition "Upon This Rock" for Pope John Paul II's visit to San Francisco and the performances of his mass "To Hope! A Celebration" in St. Stephan's Cathedral in Vienna and in Moscow with the Russian National Orchestra and Orloff choir.
Dave Brubeck's compositions include a popular Christmas choral pageant "La Fiesta de la Posada", oratorios and cantatas, ballet suites, a string quartet, chamber ensembles, pieces for solo and duo-piano, violin solos and orchestral works. His mass "To Hope! A Celebration" has been performed throughout the English-speaking world, Germany, Russia and Austria and was recorded in the National Cathedral in Washington, D.C. In 2002 the London Symphony Orchestra and London Voices recorded in "Classical Brubeck" his Easter oratorio "Beloved Son", "Pange Lingua Variations", "The Voice of the Holy Spirit" and a composition for string orchestra, "Regret", all under the baton of Russell Gloyd, who was Brubeck's conductor, producer and manager for 34 years. In 2006, the Monterey Jazz Festival presented Dave's mini-opera based on Steinbeck's "Cannery Row".
While increasingly active as a composer, Brubeck remained a leading figure in jazz, recording for Telarc, appearing in festivals and touring internationally in concert halls with the most recent version of the Dave Brubeck Quartet– Bobby Militello, sax and flute, Randy Jones, drums, and Michael Moore, bass. As in former Dave Brubeck Quartets, each was a master musician and their concert repertoire ranged from "hits" from the old Quartet "book" to cutting edge new material.
Throughout his long career Dave Brubeck received many national and international honors, including the National Medal of the Arts from President Clinton, a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences, the Smithsonian Medal, and a star on the Hollywood Walk of Fame. He was awarded numerous honorary doctorates from American, Canadian, English and German universities, including an honorary degree in Sacred Theology from Fribourg University, Switzerland. Brubeck received the Distinguished Arts Award from the Ford Honors program of the University of Michigan and in 2006 received from Notre Dame their highest honor, the Laetare Medal. He was a Duke Ellington Fellow at Yale University, and was presented with the Sanford Medal by the Yale School of Music
In the year 2000 the National Endowment for the Arts declared Dave Brubeck a Jazz Master. He was inducted into the American Classical Music Hall of Fame in 2003. In 2007 he received a Living Legacy Jazz Award from Kennedy Center and the Arison Award from the National Foundation for the Advancement of the Arts.
His international honors include Austria's highest award for the Arts, a citation from the French government, and the Bocconi Medal from Italy. The London Symphony Orchestra, acknowledging their long association, presented him with their prestigious Lifetime Achievement Award in 2007.
In 2009, Dave was honored to receive the prestigious Kennedy Center Award, which President Barack Obama bestowed on him on his 89th birthday.
Verve Records announces the release of Lullabies, a collection of familiar songs and original compositions for the entire family from a giant of American jazz, Dave Brubeck. The last recorded solo album from the inimitable musician, the album showcases his signature improvisational style on well-known children's songs, beloved standards and originals.
Dave recorded this serene collection of music as a gift to his grandchildren and as his last studio recording. His ingenuity and integrity, all hallmarks of great Brubeck recordings, are abundantly apparent on the album. The set contains covers and originals that will appeal to existing jazz and Dave Brubeck fans, as it exhibits his innovative style over delicate, inviting compositions that will also be enjoyed by the entire family. At the time of the recording, Brubeck commented on the project and his hopes for the compilation. "Some of the melodies on this album are like those familiar songs," says Brubeck. "Some are original pieces that I thought would appeal to babies as well as an older generation. I hope the littlest ones will respond to this music, and that parents and grandparents will enjoy it as well."
It was 1959-a pivotal year for jazz as a whole, but for Dave Brubeck it was utterly life changing. After years of college tours he had a smash hit album, Time Out, with his quartet and has been a household name ever since. Join us starting on Monday, November 30th for a week-long celebration of the centennial anniversary of the birth of Dave Brubeck. We'll have special programming leading up to his birthday on Sunday, December 6th.
During jazz hours, we'll bring you the music of Brubeck through the years, including collaborations and live recordings. You'll also hear selections from our Jazz Album of the Week, which is a never-before released set of music from the Time Out sessions, called Time Out Takes. Our hosts will also present different interpretations of the music of Brubeck and his quartet.
Our Classical Album of the Week, Sharon Isbin's Affinity, connects with Brubeck as well. The title track is a guitar concerto composed by Chris Brubeck. It has a slow movement that orchestrates his father's song "Autumn." Sharon says this tribute to Dave Brubeck, "forms the heart and soul of the piece, surrounded by all of these wonderful virtuosic Middle Eastern and jazz, and waltz-like elements…" You will hear selections from Affinity during classical shifts throughout the week.
You'll also get to see and hear from members of our jazz department with their favorite Dave Bruebeck tunes and why they love them so much. GETTY IMAGES/METRONOME
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Not long before the great Mr. Dave Brubeck drifted off to eternal sleep one day before his 92nd birthday, he had left for us a final album of soft jazzy lullabies to guide us into peace. Awesome! We teared up at not just the loveliness of the tunes, but that Brubeck is almost playing an elegy for himself. At 91, Brubeck recorded these "children's songs" as a gift to his grandchildren, but there's nothing maudlin about it. This collection makes me feel as right as Brubeck's classic Disney Album from 1957. While I would say that this is a great record when it comes to introducing children to the world of jazz, for goodness' sake, don't roll your eyes if you hear the word "lullaby." Instead, imagine classics like "Danny Boy", "Somewhere Over the Rainbow", and "All Through the Night" as they remind you, in the midst of this shit-show of a year, that there is a world out there that can create something with, it seems, the sole purpose of making you happy when there's nowhere else to turn for relief. OK, Dave. Take Five.
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In his liner notes to this typically unassuming album, Dave Brubeck remembers his mother playing to him and his siblings as they drifted off to sleep, a practice he later continued with his own children and grandchildren. Brubeck's mother also believed in prenatal influence, playing music to her children in the womb. There's something, evidently, about hearing music in a kind of peripheral consciousness that holds a special relevance here, a process of both learning and imparting music that relies on gradual immersion rather than active study. And this recording plays like a soundtrack to half-remembered dreams, melodies floating in and out of focus through clouds of harmonic invention and lush textures.
There's a feeling that Brubeck started out meaning to play these tunes pretty straight, but then couldn't help himself.
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Too white, too rational, too square. Jazz pianist Dave Brubeck, who died in 2012 one day before his 92nd birthday, has been the target of much criticism in his long career. But he did make the best-known jazz song of all time with Take Five ; the introduction to the genre for entire tribes. And he was a very inventive pianist, always surrounded by top musicians.
Sleep-inducing, has Brubeck's music ever been called that? In case of his already recorded in 2010 and recently released album Lullabies , he would have taken that as a compliment.
The album starts and ends with Guten Abend, gut 'Nacht by Johannes Brahms (that little melody that always sounds from music boxes in cribs). In between, more jazzed lullabies and 'sleep classics', but also five pieces by his own hand, including Going to Sleep, which he wrote for a grandson. When the boy was staying with Grandpa, he slept next to the studio and always asked Brubeck to continue playing until he was under sail.
Brubeck stays close to the melody in Summertime , Over the Rainbow and When It's Sleepy Time down South and avoids deviant time signatures. Sleep-inducing? Perhaps for the little ones. The sweet and modest, almost meditative sounds just make adults calm and relaxed. Also worth something.
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"Take Five," a 1959 track by the Dave Brubeck Quartet, was always a musical oddity: a swinging, instantly catchy jazz piece written in the uncommon time signature of 5/4. But it was also a huge hit and the first platinum-selling single in jazz history.
Roughly 61 years after the release of "Take Five" on Brubeck's Time Out album, the late pianist's estate will release TimeOutTakes, a new album of previously unreleased alternate versions of pieces from the iconic LP. Wednesday, in advance of Time OutTakes' December release, Brubeck Editions is unveiling a never-before-heard early run-through of "Take Five," streaming above.
On the alternate version, you can hear how the band is still acclimating to the feel of the piece's 5/4 rhythm. They play the tune faster than on the familiar take and drummer Joe Morello hadn't yet settled into the famously relaxed beat that made the five-beat structure feel so natural. You can also hear alto saxophonist Paul Desmond, who composed "Take Five," getting used to improvising on the tune. In his drum solo, Morello sticks close to the rhythm of Brubeck's "1, 2, 3; 1, 2" piano vamp, slowly building up density and excitement as he goes. Whereas on the final, Brubeck and bassist Eugene Wright play behind Morello's feature, here the drummer takes the spotlight alone.
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