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Holt-Atherton Special Collections, University of the Pacific Library


"/ tell you, the happiest I am is playing jazz. That's the purest form of music." —Dave Brubeck THE LIMIT During his early years, Dave Brubeck played piano in a variety of musical genres before creating his own unique jazz style. By 1957, the Washington Post named him "the most vigorous, swinging, exciting modern jazz pianist around today." The general public understood his music, which included elements of classical and swing. Within the jazz scene, however, his unique approach stirred up controversy. "[The Brubeck Quartet] may keep time irregularly, but they keep it. I sometimes wish they'd give it away," grumbled one reviewer. But in West Coast Jazz, Ted Cioia defended the "extraordinary individualistic qualities" of Brubeck's music. Dave Brubeck introduced generations of listeners to jazz. It was his wife lola's idea to play concerts on college campuses in the 1950s. These performances— outside of nightclubs—attracted a loyal and enduring fan base. "You really grooved me with those nutty changes." —Paul Desmond during his first jam session with Brubeck The "Brubeck sound" experimented with time through polyrhythms and harmony through polytonality. Brubeck notes, "I have tried to be free of musical straightjackets and to retain freedom of choice within jazz." He is perhaps best known for his unique use of nonstandard rhythms. These unusual time signatures are featured on his legendary album Time Out. He also worked into his compositions many of the musical styles, rhythms, and modes that he heard while touring around the world. Even Brubeck was surprised when his Image appeared on the a Tim* Magazine in 1954. This was five years before the release of Take Five" and Brubeck, as well as others in the jazz world, lelt that Duke Ellington and older, more established musicians deserved the honor more. Evolution of Dave Brubeck's Jazz Bands 1946 The Octet begins while Brubeck Is studying composition with the French composer Darius Mllhaud at Mills Collage in Oakland, California. The Dive Brubeck Trio forms with Ron Crotty and Cal Trader. rhythm section, the "classic" Dave Brubeck Quartet emerges with Paul Desmond on alto saxophone, Joe Monello on drums. 19U Brubeck forms a new group that yen years with baritone saxophone rend Gerry Mulligan, Alan Dawson The 'classic" Dave Brubeck Quart the Dave Brubeck Quartet tours the world with the Murray Louis Dance Company; 1987 The Dave Brubeck Quartet; with Bill Smith (from the 1946 Octet) on clarinet. Randy Jones on drums, and Chris Brubeck on bass, tours the Soviet Union. The Dave Brubeck Quartet indudes Bobby Mil Hello on saxophone and flute (1981), Randy Jonea on drums (1979), and Michael Moore on bass (2001). Through the 1940s, Dixieland, Big Band, bebop, and other jazz styles emanated from music centers like New York and New Orleans. But in the early 1950s, musicians in California responded to the more frenetic bebop approach by playing a sophisticated "cool" jazz. This new West Coast sound emerged with the Brubeck Quartet, and peaked in 1960 with its hits "Take Five" (written by Paul Desmond) and "Blue Rondo a la Turk" (written by Brubeck). 77m* Out (1959) A Dart Bmbtek Christmas (1996)

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Holt-Atherton Special Collections, University of the Pacific Library


Holt-Atherton Special Collections, University of the Pacific Library


Jazz musicians, Dave Brubeck, Holt-Atherton Special Collections, archives, photographs, images, musician, jazz, history, California



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