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Dave Brubeck

 
Britannica Concise Encyclopedia:

Dave Brubeck

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(born Dec. 6, 1920, Concord, Calif., U.S.) U.S. jazz pianist and composer. Brubeck studied composition with Darius Milhaud before working as a jazz pianist. He formed a quartet with saxophonist Paul Desmond in 1951. His use of unconventional metres contributed to his immense appeal: the recording of Desmond's "Take Five" became the first jazz instrumental to sell more than a million copies. This exposure brought many new listeners to jazz, particularly on college campuses during the 1950s and '60s.

For more information on Dave Brubeck, visit Britannica.com.

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Oxford Grove Music Encyclopedia:

Dave Brubeck

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(b Concord, ca, 6 Dec 1920). American jazz composer and pianist. He led a 12-piece band while studying music at the College of the Pacific in Stockton, California, and also studied with Milhaud, at Mills College, Oakland, where he founded the experimental Jazz Workshop Ensemble. In 1949 he formed the Dave Brubeck Trio with Cal Tjader (drums and vibraphone) and Norman Bates (double bass); this became a quartet in 1951 with the addition of Paul Desmond (alto saxophone). Brubeck experimented with unusual time signatures and wrote several large-scale compositions.


Gale Encyclopedia of Biography:

Dave Brubeck

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Dave Brubeck (born 1920), who is considered the most widely acclaimed jazz musician of his time period, has been described as everything from mystical to methodical.

According to Robert Rice of the New Yorker, the combo led by jazz pianist Dave Brubeck during the 1950s and 1960s was "the world's best-paid, most widely travelled, most highly publicized, and most popular small group." While Brubeck can be considered the world's most widely acclaimed musician of his period, he is also quite possibly its most criticized, having been described as everything from mystical to methodical. Stanley H. White wrote in Jazz Journal in 1958 that Brubeck's "ability to improvise fluently on almost any given theme, and his ability to swing with both drive and imagination make him a jazz musician of singular merit"; two years later Joe Goldberg declared in Jazz Review "that jazz is not [Brubeck's] natural form of expression, but he is determined to play jazz, as if a man who knew five hundred words of French were to attempt a novel in that language."

Perhaps Rice's statement on the importance of Brubeck's music, that "it is impossible to make a comment - pro, con, or merely factual - that would not be disputed by a majority of the people who habitually play, listen to, or write about jazz," sums up the critical commentary that surrounds Brubeck's body of work. What can be asserted is that Brubeck, beyond the praise and fault-finding, beyond even the unexamined end result of his music, has always been an intelligent musician thoughtful of the process, an artist constantly seeking a new and justifiable means of creative expression.

"Perhaps the most significant contribution made by the Brubeck Quartet has been the integration of jazz and classical elements," Al Zeiger noted in Metronome. But Brubeck's precarious marriage of these two divergent styles has frequently offended stylists and aficionados of the pure jazz form. "He cannot always maintain the balance between jazz and classical music without forsaking an element vital to either one form," White appraised in Jazz Journal. More often than not, Brubeck's improvisations slip from jazz into classical colors, bringing up "a little canon a la Bach or some dissonant counterpoint a la Bartok or even a thrashing crisis a la Beethoven," a reporter for Time pointed out.

Brubeck's tendency toward peppering his jazz speech with classical tones is rooted in his childhood. His mother, a classically trained piano teacher, was a believer in prenatal influence. "She practiced all through her pregnancies," Brubeck related, according to Len Lyons in The Great Jazz Pianists: Speaking of Their Lives and Music. "When we were born, we were all put near the piano to listen to her practicing. I heard Chopin, Liszt, Mozart, and Bach from infancy." While his brothers took to classical training, Brubeck rebelled against his mother's teachings, preferring instead to make up his own songs. "There can be little doubt that his original interest in jazz arose as a protest against the idea of playing notes that were written on paper instead of the notes that were in his head," Rice wrote in the New Yorker. It is noteworthy that Brubeck did not learn to read music until later in life. Because of his acute musical ear, he was able to fool his mother by reproducing any piece after listening to it once or twice.

Despite Brubeck's early protestations, classical music informed his subsequent musical approach. He attested to this in an article he wrote for Down Beat at the beginning of his career: "Because the jazz musician creates music, interprets music as he hears it, it is natural that his improvised compositions should reflect every kind of music to which he has been exposed." Further exposure to the classical realm came through studies with the French composer Darius Milhaud.

After graduating with a degree in music and serving in the U.S. Army during World War II, Brubeck studied composition under Milhaud at Mills College for three years. From this classical instructor, Brubeck learned one important point about composing, as he explained to Michael Bourne in Down Beat: "One lesson was never give up jazz. And he told me I would be a composer on my own terms…. He said, 'If you don't reflect your own country and use the jazz idiom, you'll never be a part of this culture.' And, of course, Copland used it, Bernstein used it. Most of the important American composers have used jazz." But it seems that jazz was just a tool used to build his compositions, for in addition, Brubeck learned from Milhaud the usage of modern European polytonal harmonies on which he was to base his style.

After his apprenticeship under Milhaud, Brubeck sought a group sound for his compositions in 1949, first with an octet, then pared down to a trio. He also helped form Fantasy Records, the label on which he first recorded. But his definition of jazz - "an improvised musical expression based on European harmony and African rhythms," as he described it in Down Beat - was not fulfilled until Brubeck added alto saxophonist Paul Desmond to the group in 1951. "Desmond's yearning lyricism proved the perfect foil for Brubeck's percussive approach," Amy Duncan pointed out in the Christian Science Monitor. Another indication of Brubeck's keen judgement was his decision at the time to forego the night club circuit in favor of college campuses. The 1954 recording of one such tour, Jazz Goes to College, was the quartet's breakthrough, selling over a million copies and earning Brubeck the cover of Time's November 8, 1954, issue.

In Time's accompanying profile Brubeck was described as "a wigging cat with a far-out wail" who produces "some of the strangest and loveliest music ever played since jazz was born." His music and approach, which the article proclaimed heralded a new jazz age, "is neither chaotic nor abandoned. It evokes neither swinging hips nor hip flasks. It goes to the head and the heart more than to the feet."

But accompanying the rising acclaim was also rising derision. The debate over the purpose and sound of jazz divided the critical camps. Metronome's Zeiger lauded Brubeck's technique: "his texture has a refinement and lightness to it which, at times, is characteristic of the grace and elegance of Mozart"; but Jazz Journal's White stressed that "the unavoidable lack of beat, the absence of the jazz spirit - these indispensable jazz attributes - bring defeat to an otherwise highly intelligent and musicianly artist." Dave Gelly, writing in his book The Giants of Jazz, summed up the reasons for critical disapproval: "Brubeck's studious manner, his copious references to Milhaud and Hindemith in press interviews, his little lectures at concerts on how very complicated and demanding the next number was going to be, his quotations from Bach, the galloping pomposity of his piano solos." The public, however, continued its almost unanimous approval of the quartet. "The fact that it is admired by the public may explain the fact that it is scorned by many of the adepts," Rice assessed in the New Yorker. "'Popular' is an extreme [negative] in certain jazz circles."

With the substitution of Joe Morello on drums and Eugene Wright on bass in the late 1950s, Brubeck formed the classic Dave Brubeck Quartet, which performed unchanged for almost ten years. Len Lyons and Don Perlo, in their book Jazz Portraits: The Lives and Music of the Jazz Masters, described the basic elements of the quartet's music: "Fuguelike interplay among the instruments; clear (sometimes simplistic) thematic statements; excursions into polytonality; and a tight group sound." This definitive Dave Brubeck Quartet sound also bore the mark of irregular time signatures. Brubeck's belief that "new and complex rhythm patterns, more akin to the African parents, is the natural direction for jazz to develop," as he wrote in Down Beat, was fully realized on his famous 1959 recording, Time Out, which featured the hits "Take Five" (in 5/4 meter) and "Blue Rondo a la Turk" (in 9/8 meter). "Take Five" was so well received that it even made the popular music charts, unheard of for an instrumental jazz recording. Time Out went on to become the first instrumental jazz album certified gold.

The quartet continued to record and tour successfully until 1967, when Brubeck decided to disband the group to fully concentrate on composing sacred music and jazz-influenced symphonic works. Among his compositions is the cantata Truth Is Fallen, commissioned in 1971 and dedicated "to the slain students of Kent State University and Jackson State, and all other innocent victims caught in the cross fire between repression and rebellion," Leonard Feather noted in his book The Pleasures of Jazz.

But Brubeck couldn't stay away from the quartet format and the improvisational element of jazz. "Jazz stands for freedom," he told Duncan of the Christian Science Monitor. "It's supposed to be the voice of freedom: Get out there and improvise, and take chances." Since the early 1970s, Brubeck has recorded and toured with his quartet composed of various musicians, including a combination of his sons, and labeled Two Generations of Brubeck. Although not quite the force he was in the 1950s and 1960s, Brubeck continued to produce vital music, as Stereo Review's Chris Albertson attested to in a review of Brubeck's 1986 offering, Reflections, stating that "the album only partly reflects the past: the present is also strongly represented, and the blend is good…. There was always a lyrical side to Brubeck, and that - as several selections here demonstrate - is an aspect of his music that time has enhanced."

For over four decades Dave Brubeck has created music, both written and unwritten. He led one of the most successful quartets in the history of jazz without pandering to either popular or critical dictates, remaining "a paragon of obstinacy, and [playing], stolidly or not, as he pleases," Rice observed in the New Yorker. He has persisted in seeking a voice for his creations with an informed intellectual purpose. "Far from being a born jazz man, Brubeck is a creative artist, an artist who uses jazz as his means of self-impression and as a source of unbounded inspiration," wrote Jazz Journal' s White, adding that "the fundamental reason for Brubeck's failure to convince the jazz masses is simply that he attempted to bring something new into jazz."

Further Reading

Feather, Leonard, The Pleasures of Jazz, Horizon, 1976.

Gelly, Dave, The Giants of Jazz, Schirmer Books, 1986.

Lyons, Len, The Great Jazz Pianists: Speaking of Their Lives and Music, Morrow, 1983.

Lyons, Len and Don Perlo, Jazz Portraits: The Lives and Music of the Jazz Masters, Morrow, 1989.

Christian Science Monitor, January 18, 1989; August 17, 1989.

Down Beat, January 27, 1950; February 10, 1950; February 6, 1957; October, 1982; March, 1991.

Jazz Journal, February 1958.

Jazz Journal International, December 1988.

Jazz Review, February 1960.

Metronome, August 1955.

New Yorker, June 3, 1961.

New York Times, July 1, 1990.

Stereo Review, February 1980; November 1986.

Time, November 8, 1954.

Columbia Encyclopedia:

Dave Brubeck

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Brubeck, Dave (David Warren Brubeck) (brū'bĕk), 1920-, American pianist and composer, b. Concord, Calif. Brubeck began studying piano at the age of four and later studied composition with Milhaud and Schoenberg. In 1951 he organized a jazz quartet with alto saxaphonist Paul Desmond. His music, influenced by modern classical composers, is distinguished by complex harmony and the use of meters not typical in jazz.
Gale Musician Profiles:

Dave Brubeck

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Pianist, composer, bandleader

According to Robert Rice of the New Yorker, the combo led by jazz pianist Dave Brubeck during the 1950s and 1960s was "the world’s best-paid, most widely travelled, most highly publicized, and most popular small group." While Brubeck may be considered the world’s most widely acclaimed musician of his period, he is also quite possibly its most criticized, having been described as everything from mystical to methodical. Stanley H. White wrote in Jazz Journal in 1958 that Brubeck’s "ability to improvise fluently on almost any given theme, and his ability to swing with both drive and imagination make him a jazz musician of singular merit"; two years later Joe Goldberg declared in Jazz Review "that jazz is not [Brubeck’s] natural form of expression, but he is determined to play jazz, as if a man who knew five hundred words of French were to attempt a novel in that language."

Perhaps Rice’s statement on the importance of Brubeck’s music, that "it is impossible to make a comment—pro, con, or merely factual—that would not be disputed by a majority of the people who habitually play, listen to, or write about jazz," sums up the critical commentary that surrounds Brubeck’s body of work. What can be asserted is that Brubeck, beyond the praise and faultfinding, beyond even the unexamined end result of his music, has always been an intelligent musician thoughtful of the process, an artist constantly seeking a new and justifiable means of creative expression.

"Perhaps the most significant contribution made by the Brubeck Quartet has been the integration of jazz and classical elements," Al Zeiger noted in Metronome. But Brubeck’s precarious marriage of these two divergent styles has frequently offended stylists and aficionados of the pure jazz form. "He cannot always maintain the balance between jazz and classical music without forsaking an element vital to either one form," White appraised in Jazz Journal. More often than not, Brubeck’s improvisations slip from jazz into classical colors, bringing up "a little canon a la Bach or some dissonant counterpoint a la Bartok or even a thrashing crisis a la Beethoven," a reporter for Time pointed out.

Influenced by Classical Music
Brubeck’s tendency toward peppering his jazz speech with classical tones is rooted in his childhood. His mother, a classically trained piano teacher, was a believer in prenatal influence. "She practiced all through her pregnancies," Brubeck related, according to Len Lyons in The Great Jazz Pianists: Speaking of Their Lives and Music. "When we were born, we were all put near the piano to listen to her practicing. I heard Chopin, Liszt, Mozart, and Bach from infancy." While

his brothers took to classical training, Brubeck rebelled against his mother’s teachings, preferring instead to make up his own songs. "There can be little doubt that his original interest in jazz arose as a protest against the idea of playing notes that were written on paper instead of the notes that were in his head," Rice wrote in the New Yorker. It is noteworthy that Brubeck did not learn to read music until later in life. Because of his acute musical ear, he was able to fool his mother by reproducing any piece after listening to it once or twice.

Despite Brubeck’s early protestations, classical music informed his subsequent musical approach. He attested to this in an article he wrote for Down Beat at the beginning of his career: "Because the jazz musician creates music, interprets music as he hears it, it is natural that his improvised compositions should reflect every kind of music to which he has been exposed." Further exposure to the classical realm came through studies with the French composer Darius Milhaud.

After graduating with a degree in music and serving in the U.S. Army during World War II, Brubeck studied composition under Milhaud at Mills College for three years. From this classical instructor, Brubeck learned one important point about composing, as he explained to Michael Bourne in Down Beat: "One lesson was never give up jazz. And he told me I would be a composer on my own terms. … He said, ‘If you don’t reflect your own country and use the jazz idiom, you’ll never be a part of this culture.’ And, of course, Copland used it, Bernstein used it. Most of the important American composers have used jazz." But it seems that jazz was just a tool used to build his compositions, for in addition, Brubeck learned from Milhaud the usage of modern European polytonal harmonies, on which he was to base his style.

"European Harmony and African Rhythms"
After his apprenticeship under Milhaud, Brubeck sought a group sound for his compositions in 1949, first with an octet, then pared down to a trio. He also helped form Fantasy Records, the label on which he first recorded. But his definition of jazz—"an improvised musical expression based on European harmony and African rhythms," as he described it in Down Beat—was not fulfilled until Brubeck added alto saxophonist Paul Desmond to the group in 1951. "Desmond’s yearning lyricism proved the perfect foil for Brubeck’s percussive approach," Amy Duncan pointed out in the Christian Science Monitor. Another indication of Brubeck’s keen judgement was his decision at the time to forego the nightclub circuit in favor of college campuses. The 1954 recording of one such tour, Jazz Goes to College, was the quartet’s breakthrough, selling over a million copies and earning Brubeck the cover of Time’s November 8, 1954, issue.

In Time’s accompanying profile Brubeck was described as "a wigging cat with a far-out wail" who produces "some of the strangest and loveliest music ever played since jazz was born." His music and approach, which the article proclaimed heralded a new jazz age, "is neither chaotic nor abandoned. It evokes neither swinging hips nor hip flasks. It goes to the head and the heart more than to the feet."

But accompanying the rising acclaim was also rising derision. The debate over the purpose and sound of jazz divided the critical camps. Metronome’s Zeiger lauded Brubeck’s technique: "his texture has a refinement and lightness to it which, at times, is characteristic of the grace and elegance of Mozart"; but Jazz Journal’s White stressed that "the unavoidable lack of beat, the absence of the jazz spirit—these indispensable jazz attributes—bring defeat to an otherwise highly intelligent and musicianly artist." Dave Gelly, writing in his book The Giants of Jazz, summed up the reasons for critical disapproval: "Brubeck’s studious manner, his copious references to Milhaud and Hindemith in press interviews, his little lectures at concerts on how very complicated and demanding the next number was going to be, his quotations from Bach, the galloping pomposity of his piano solos." The public, however, continued its almost unanimous approval of the quartet. "The fact that it is admired by the public may explain the fact that it is scorned by many of the adepts," Pice assessed in the New Yorker. "’Popular’ is an extreme [negative] in certain jazz circles."

First Gold Jazz Album
With the substitution of Joe Morello on drums and Eugene Wright on bass in the late 1950s, Brubeck formed the classic Dave Brubeck Quartet, which performed unchanged for almost ten years. Len Lyons and Don Perlo, in their book Jazz Portraits: The Lives and Music of the Jazz Masters, described the basic elements of the quartet’s music: "Fuguelike interplay among the instruments; clear (sometimes simplistic) thematic statements; excursions into polytonality; and a tight group sound." This definitive Dave Brubeck Quartet sound also bore the mark of irregular time signatures. Brubeck’s belief that "new and complex rhythm patterns, more akin to the African parents, is the natural direction for jazz to develop," as he wrote in Down Beat, was fully realized on his famous 1959 recording Time Out, which featured the hits "Take Five" (in 5/4 meter) and "Blue Rondo a la Turk" (in 9/8 meter). "Take Five" was so well received that it even made the popular music charts, unheard of for an instrumental jazz recording. Time Out went on to become the first instrumental jazz album certified gold.

The quartet continued to record and tour successfully until 1967, when Brubeck decided to disband the group to fully concentrate on composing sacred music and jazz-influenced symphonic works. Among his compositions is the cantata Truth Is Fallen, commissioned in 1971 and dedicated "to the slain students of Kent State University and Jackson State, and all other innocent victims caught in the cross fire between repression and rebellion," Leonard Feather noted in his book The Pleasures of Jazz.

Returned to Quartet Format
But Brubeck couldn’t stay away from the quartet format and the improvisational element of jazz. "Jazz stands for freedom," he told Duncan of the Christian Science Monitor. "It’s supposed to be the voice of freedom: Get out there and improvise, and take chances." Since the early 1970s, Brubeck has recorded and toured, his quartet composed of various musicians, including a combination of his sons, and labeled Two Generations of Brubeck. Although not quite the force he was in the 1950s and 1960s, Brubeck continued to produce vital music, as Stereo Review’s Chris Albertson attested to in a review of Brubeck’s 1986 offering, Reflections, stating that "the album only partly reflects the past: the present is also strongly represented, and the blend is good. … There was always a lyrical side to Brubeck, and that—as several selections here demonstrate—is an aspect of his music that time has enhanced."

For over four decades Dave Brubeck has created music, both written and unwritten. He led one of the most successful quartets in the history of jazz without pandering to either popular or critical dictates, remaining "a paragon of obstinacy, and [playing], stolidly or not, as he pleases," Rice observed in the New Yorker. He has persisted in seeking a voice for his creations with an informed intellectual purpose. "Far from being a born jazz man, Brubeck is a creative artist, an artist who uses jazz as his means of self-impression and as a source of unbounded inspiration," wrote Jazz Journal’s White, adding that "the fundamental reason for Brubeck’s failure to convince the jazz masses is simply that he attempted to bring something new into jazz."

Selected discography
Octet, Fantasy, 1949.
Jazz at College of the Pacific, Fantasy, 1953.
Jazz at Oberlin, Fantasy, 1953.
Jazz Goes to College, Columbia, 1954.
Jazz: Red Hot and Cool, Columbia, 1955.
Brubeck Plays Brubeck, Columbia, 1956.
Jazz Impressions of Eurasia, Columbia, 1958, reissued, Columbia Jazz Masterpieces/Legacy, 1992.
Dialogues for Jazz Combo and Orchestra, Columbia, 1960.
Time Further Out, Columbia, 1961.
Jazz Impressions of Japan, Columbia, 1964.
Elementals for Jazz Combo, Orchestra, and Baritone Solo, Decca, 1970.
Adventures in Time, Columbia, 1972.
Two Generations of Brubeck, Atlantic, 1973.
All the Things We Are, Atlantic, 1974.
Quartet: 25th Anniversary Reunion, A&M, 1976.
Back Home, Concord Jazz, 1979.
Paper Moon, Concord Jazz, 1981.
Concord on a Summer Night, Concord Jazz, 1982.
For lola (recorded 1984), Concord Jazz, 1985.
Reflections (recorded 1985), Concord Jazz, 1986.
Gone With the Wind, Columbia Jazz Masterpieces, 1987.
Time Out (recorded c. 1960; reissue), Columbia Jazz Masterpieces, 1987.
Moscow Night (recorded 1987), Concord Jazz, 1988.
Jazz Impressions of New York, Columbia Jazz Masterpieces, 1990.
New Wine: With the Montreal International Jazz Festival Orchestra, MusicMasters, 1990.
Quiet as the Moon, MusicMasters, 1991.

With others
1975/Duets, A&M, 1975.
Brubeck/Mulligan/Cincinnati Symphony Orchestra With Jack Six, Alan Dawson (recorded 1970), MCA Classics, 1990.
Dave Brubeck/Paul Desmond With Ron Crotty, Wyatt (Bull) Ruther, Lloyd Davis, Herb Barman, Joe Dodge (record ed 1952-54), Fantasy, 1990.
Last Set at Newport, Atlantic.
Reunion (recorded 1957), Fantasy.
Take Five Live 1967, Jazz Music Yesterday.
We’re All Together Again for the First Time, Atlantic.

Selected compositions
The Light in the Wilderness (oratorio).
To Hope: A Mass for a New Decade (mass).
The Gates of Justice (cantata).
Truth Is Fallen (cantata).
The Real Ambassadors (musical; lyrics by lola Brubeck).
Points on Jazz (ballet).
Also composed the jazz works “The Duke,” “Blue Rondo a la Turk,” “It’s a Raggy Waltz,” “In Your Own Sweet Way,” “Balcony Rock,” “Koto Song,” and “Softly, William, Softly.”
 Sources
Books
Feather, Leonard, The Pleasures of Jazz, Horizon, 1976.
Gelly, Dave, The Giants of Jazz, Schirmer Books, 1986.
Lyons, Len, The Great Jazz Pianists: Speaking of Their Lives and Music, Morrow, 1983.
Lyons, Len and Don Perlo, Jazz Portraits: The Lives and Music of the Jazz Masters, Morrow, 1989.

Periodicals
Christian Science Monitor, January 18, 1989; August 17, 1989.
Down Beat, January 27, 1950; February 10, 1950; February 6, 1957; October 1982; March 1991.
Jazz Journal, February 1958.
Jazz Journal International, December 1988.
Jazz Review, February 1960.
Metronome, August 1955.
New Yorker, June 3, 1961.
New York Times, July 1, 1990.
Stereo Review, February 1980; November 1986.
Time, November 8, 1954.
AMG AllMusic Guide: Pop Artists:

Dave Brubeck

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  • Genres: Jazz

Biography

Dave Brubeck has long served as proof that creative jazz and popular success can go together. Although critics who had championed him when he was unknown seemed to scorn him when the Dave Brubeck Quartet became a surprise success, in reality Brubeck never watered down or altered his music in order to gain a wide audience. Creative booking (being one of the first groups to play regularly on college campuses) and a bit of luck resulted in great popularity, and Dave Brubeck remains one of the few household names in jazz.

From nearly the start, Brubeck enjoyed utilizing poly-rhythms and poly-tonality (playing in two keys at once). He had classical training from his mother, but fooled her for a long period by memorizing his lessons and not learning to read music. He studied music at the College of the Pacific during 1938-1942. Brubeck led a service band in General Patton's Army during World War II and then, in 1946, he started studying at Mills College with the classical composer Darius Milhaud, who encouraged his students to play jazz. During 1946-1949, Brubeck led a group mostly consisting of fellow classmates, and they recorded as the Dave Brubeck Octet; their music (released on Fantasy in 1951) still sounds advanced today, with complex time signatures and some poly-tonality. The octet was too radical to get much work, so Brubeck formed a trio with drummer Cal Tjader (who doubled on vibes) and bassist Ron Crotty. The trio's Fantasy recordings of 1949-1951 were quite popular in the Bay Area, but the group came to an end when Brubeck hurt his back 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 group a quartet. Within two years, the band had become surprisingly popular. Desmond's cool-toned alto and quick wit fit in well with Brubeck's often heavy chording and experimental playing; both Brubeck and Desmond had original sounds and styles that owed little to their predecessors. Joe Dodge was the band's early drummer but, after he tired of the road, the virtuosic Joe Morello took his place in 1956; while the revolving bass chair 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 cover of Time (1954). The huge 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 like gimmicks. Dave and Iola Brubeck (his wife and lyricist) put together an anti-racism show featuring Louis Armstrong (The Real Ambassadors) which was recorded, but its only public appearance was at the Monterey Jazz Festival in the early '60s.

The Dave Brubeck Quartet constantly traveled around the world until its breakup in 1967. After some time off, during which he wrote religious works, Brubeck came back the following year with a new quartet featuring Gerry Mulligan, although he would have several reunions with Desmond before the altoist's death in 1977. Brubeck joined 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, clarinetist Bill Smith (who was in the original octet) alternated with altoist Bobby Militello.

There is no shortage of Dave Brubeck records currently available, practically everything he cut for Fantasy, Columbia, Concord, and Telarc are easy to locate. Brubeck, whose compositions "In Your Own Sweet Way," "The Duke," and "Blue Rondo a la Turk" have become standards, remained very busy (despite some bouts of bad health) into the 2000s. ~ Scott Yanow, Rovi
Wikipedia on Answers.com:

Dave Brubeck

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Dave Brubeck

Dave Brubeck at the White House for the 2009 Kennedy Center Honors
Background information
Birth name David Warren Brubeck
Born December 6, 1920 (1920-12-06) (age 91)
Concord, California
Genres Jazz
Cool jazz
West Coast jazz
Third stream
Occupations Pianist
Composer
Bandleader
Instruments Piano
Years active 1940s–present
Associated acts Dave Brubeck Quartet

David Warren "Dave" Brubeck (born December 6, 1920) is an American jazz pianist. He has written a number of jazz standards, including "In Your Own Sweet Way" and "The Duke". Brubeck's style ranges from refined to bombastic, reflecting his mother's attempts at classical training and his improvisational skills. His music is known for employing unusual time signatures, and superimposing contrasting rhythms, meters, and tonalities.

His long-time musical partner, alto saxophonist Paul Desmond, wrote the Dave Brubeck Quartet's best remembered piece, "Take Five",[1] which is in 5/4 time and has endured as a jazz classic on the top-selling jazz album, Time Out.[2] Brubeck experimented with time signatures throughout his career, recording "Pick Up Sticks" in 6/4, "Unsquare Dance" in 7/4, and "Blue Rondo à la Turk" in 9/8. He is also a respected composer of orchestral and sacred music, and wrote soundtracks for television such as Mr. Broadway and the animated mini-series This Is America, Charlie Brown.

Contents

Early life and career

Brubeck was born in Concord, California[1] and grew up in Ione. He is of English (maternal), Swiss and possibly Native American Modoc Tribe (see: paragraph one, of the second page of the Dave Brubeck interview by Martin Totusek in Cadence Magazine - The Review of Jazz & Blues, December 1994, Vol. 20 No. 12, pages 5 - 17) multi-ethnic (paternal) ancestry[3] His father, Howard "Pete" Brubeck, was a cattle rancher, and his mother, Elizabeth (née Ivey), who had studied piano in England under Myra Hess and intended to become a concert pianist, taught piano for extra money.[4] Brubeck originally did not intend to become a musician (his two older brothers, Henry and Howard, were already on that track), but took lessons from his mother. He could not read sheet music during these early lessons, attributing this difficulty to poor eyesight, but "faked" his way through, well enough that this deficiency went mostly unnoticed.[5]

Intending to work with his father on their ranch, Brubeck entered the College of the Pacific (now the University of the Pacific) studying veterinary science, but transferred on the urging of the head of zoology, Dr Arnold, who told him "Brubeck, your mind's not here. It's across the lawn in the conservatory. Please go there. Stop wasting my time and yours".[6] Later, Brubeck was nearly expelled when one of his professors discovered that he could not read music. Several of his professors came forward, arguing that his ability with counterpoint and harmony more than compensated. The college was still afraid that it would cause a scandal, and agreed to let Brubeck graduate only after he promised never to teach piano.[7]

After graduating in 1942, Brubeck was drafted into the army and served overseas in George Patton's Third Army. He was spared from service in the Battle of the Bulge when he volunteered to play piano at a Red Cross show; he was such a hit he was ordered to form a band. Thus he created one of the US armed forces' first racially integrated bands, "The Wolfpack".[7] While serving in the military, Brubeck met Paul Desmond in early 1944.[8] He returned to college after serving nearly four years in the army, this time attending Mills College and studying under Darius Milhaud, who encouraged him to study fugue and orchestration, but not classical piano. While on active duty, he received two lessons from Arnold Schoenberg at UCLA in an attempt to connect with High Modernism theory and practice.[9] However, the encounter did not end on good terms since Schoenberg believed that every note should be accounted for, an approach which Brubeck could not accept.

After completing his studies under Milhaud, Brubeck helped to establish Berkeley, California's Fantasy Records. He worked with an octet (the recording bears his name only because Brubeck was the best-known member at the time), and a trio including Cal Tjader and Ron Crotty. Highly experimental, the group made few recordings and got even fewer paying jobs. The trio was often joined by Paul Desmond on the bandstand, at Desmond's prodding.[10]

Quartet era

Dave Brubeck, featured on TIME magazine cover, "The Man on Cloud No. 7". November 8, 1954[11]

Following a near-fatal swimming accident which incapacitated him for several months, Brubeck organized The Dave Brubeck Quartet in 1951, with Desmond on saxophone. They took up a long residency at San Francisco's Black Hawk nightclub and gained great popularity touring college campuses, recording a series of albums with such titles as Jazz at Oberlin (1953), Jazz at College of the Pacific (1953), and Brubeck's debut on Columbia Records, Jazz Goes to College (1954). In that same year, he was featured on the cover of Time magazine, the second jazz musician to be so honored (the first was Louis Armstrong on February 21, 1949[12]). Brubeck personally found this accolade embarrassing since he considered Duke Ellington more deserving of it and was convinced that himself being Caucasian as opposed to Ellington being African American was a factor for why he was favored.[13]

Dave Brubeck in 1954.

Early bassists for the group included Ron Crotty, Bob Bates, and Bob's brother Norman Bates; Lloyd Davis and Joe Dodge held the drum chair. In 1956, Brubeck hired Joe Morello, who had been working with Marian McPartland; Morello's presence made possible the rhythmic experiments that were to come. In 1958 Eugene Wright joined for the group's US State Department tour of Europe and Asia; Wright would become a permanent member in 1959, making the "classic" Quartet's personnel complete.

Wright is African-American; in the late 1950s and early 1960s Brubeck canceled several concerts because the club owners or hall managers resisted the idea of an integrated band on their stages. He also canceled a television appearance when he found out that the producers intended to keep Wright off-camera.

In 1959, the Dave Brubeck Quartet recorded Time Out, an album their label was enthusiastic about but nonetheless hesitant to release. Featuring the album art of S. Neil Fujita, the album contained all original compositions, almost none of which were in common time: 9/8, 5/4, 3/4, and 6/4 were used inspired by Eurasian folk music they experienced during that US State Department sponsored tour[14] . Nonetheless, on the strength of these unusual time signatures (the album included "Take Five", "Blue Rondo à la Turk", and "Three To Get Ready"), it quickly went platinum.

Time Out was followed by several albums with a similar approach, including Time Further Out: Miro Reflections (1961), using more 5/4, 6/4, and 9/8, plus the first attempt at 7/4; Countdown: Time in Outer Space (dedicated to John Glenn) (1962), featuring 11/4 and more 7/4; and Time Changes (1963), with much 3/4, 10/4 (which was really 5+5), and 13/4. These albums were also known for using contemporary paintings as cover art, featuring the work of Joan Miró on Time Further Out, Franz Kline on Time in Outer Space, and Sam Francis on Time Changes.

A high point for the group was their 1963 live album At Carnegie Hall, described by critic Richard Palmer as "arguably Dave Brubeck's greatest concert".

In the early '60s, Brubeck and his wife Iola developed a jazz musical, The Real Ambassadors, based in part on experiences they and their colleagues had during foreign tours on behalf of the US State Department. The soundtrack album, which featured Louis Armstrong, Lambert, Hendricks & Ross, and Carmen McRae was recorded in 1961; the musical itself was performed at the 1962 Monterey Jazz Festival.

Dave Brubeck Quartet 1967. From left to right: Joe Morello, Eugene Wright, Brubeck and Paul Desmond.

At their peak in the early '60s, the Brubeck Quartet was releasing as many as four albums a year. Apart from the 'College' and the 'Time' series, Brubeck recorded four LPs featuring his compositions based on the group's travels, and the local music they encountered. Jazz Impressions of the USA (1956, Morello's debut with the group), Jazz Impressions of Eurasia (1958), Jazz Impressions of Japan (1964), and Jazz Impressions of New York (1964) are less well-known albums, but all are brilliant examples of the quartet's studio work, and they produced Brubeck standards such as "Summer Song," "Brandenburg Gate," "Koto Song," and "Theme From Mr. Broadway." (Brubeck wrote, and the Quartet performed, the theme song for the Craig Stevens CBS drama series; the music from the series became material for the "New York" album.)

In 1961 Dave Brubeck appeared in a few scenes of the British Jazz/Beat film All Night Long, which starred Patrick McGoohan and Richard Attenborough. Brubeck merely plays himself, and his piano playing includes closeups of his fingerings. Brubeck performs "It's a Raggy Waltz" from the Time Further Out album and duets briefly with bassist Charles Mingus in "Non-Sectarian Blues".

In the early 1960s Dave Brubeck was the program director of WJZZ-FM radio (now WEZN). He achieved his vision of an all jazz format radio station along with his friend and neighbor John E. Metts, one of the first African Americans in senior radio management.

The final studio album for Columbia by the Desmond/Wright/Morello quartet was Anything Goes (1966) featuring Cole Porter songs. A few concert recordings followed, and The Last Time We Saw Paris (1967) was the "Classic" Quartet's swansong.

Later career

Brubeck in a 1972 performance in Hamburg

Brubeck's disbanding of the Quartet at the end of 1967 allowed him more time to compose the longer, extended orchestral and choral works that were occupying his attention (to say nothing of Brubeck's desire to spend more time with his family). February 1968 saw the premiere of The Light in the Wilderness for baritone solo, choir, organ, the Cincinnati Symphony Orchestra conducted by Erich Kunzel, and Brubeck improvising on certain themes within. The piece is an oratorio on Jesus's teachings. The next year, Brubeck produced The Gates of Justice, a cantata mixing Biblical scripture with the words of Dr. Martin Luther King, Jr.

Personal life

Brubeck in 2005

Four of Brubeck's six children are professional musicians. Darius, the eldest, is an accomplished pianist, producer, educator and performer. (He was named after Dave Brubeck's mentor Darius Milhaud.[15]) Dan is a renowned percussionist, Chris is a multi-instrumentalist and composer. Matthew, the youngest, is a versatile cellist with an impressive list of composing and performance credits. Brubeck's children often join with him in concerts and in the recording studio.

Brubeck believed what he saw during World War II contradicted the Ten Commandments, and the war evoked a spiritual awakening.[citation needed] He became a Catholic in 1980, shortly after completing the Mass To Hope which had been commissioned by Ed Murray, editor of the national Catholic weekly Our Sunday Visitor. Although he had spiritual interests before that time, he said, "I didn't convert to Catholicism, because I wasn't anything to convert from. I just joined the Catholic Church."[16] In 1996, he received the Grammy Lifetime Achievement Award. In 2006, Brubeck was awarded the University of Notre Dame's Laetare Medal, the oldest and most prestigious[17] honor given to American Catholics, during the University's commencement. He performed "Travellin' Blues" for the graduating class of 2006.

Brubeck founded the Brubeck Institute with his wife Iola at their alma mater, the University of the Pacific in 2000. What began as a special archive, consisting of the personal document collection of the Brubecks has since expanded to provide fellowships and educational opportunities in jazz for students, also leading to having one of the main streets the school resides on named in his honor, Dave Brubeck Way.[18]

On April 8, 2008, United States Secretary of State Condoleezza Rice presented Brubeck with a "Benjamin Franklin Award for Public Diplomacy" for offering an American "vision of hope, opportunity and freedom" through his music.[19] "As a little girl I grew up on the sounds of Dave Brubeck because my dad was your biggest fan," said Rice.[20] The State Department said in a statement that "as a pianist, composer, cultural emissary and educator, Dave Brubeck's life's work exemplifies the best of America's cultural diplomacy."[19] At the ceremony Brubeck played a brief recital for the audience at the State Department.[19] "I want to thank all of you because this honor is something that I never expected. Now I am going to play a cold piano with cold hands," Brubeck stated.[19]

Dave Brubeck (third from left), amongst Kennedy Center honorees 2009, flanked by President and Mrs. Obama at the Blue Room, White House, December 6, 2009.

California Governor Arnold Schwarzenegger and First Lady Maria Shriver announced on May 28, 2008 that Brubeck would be inducted into the California Hall of Fame, located at The California Museum for History, Women and the Arts. The induction ceremony occurred December 10, and he was inducted alongside eleven other legendary Californians.[21]

In September 2009, the Kennedy Center for the Performing Arts announced Brubeck as a Kennedy Center Honoree for exhibiting excellence in performance arts.[22] The Kennedy Center Honors Gala took place on Sunday, December 6 (Brubeck's 89th birthday) and was broadcast nationwide on CBS on December 29 at 9:00 pm EST.

On September 20, 2009, at Monterey Jazz Festival, Brubeck was awarded an honorary Doctor of Music degree (D.Mus. honoris causa) from Berklee College of Music.[23]

On May 16, 2010, Brubeck was awarded an honorary Doctor of Music degree (honoris causa) from The George Washington University in Washington, DC. The ceremony took place on the National Mall.[citation needed]

On July 5, 2010, Brubeck was awarded the Miles-Davis Award at the Montreal International Jazz Festival.[citation needed]In 2010, Bruce Ricker and Clint Eastwood produced a documentary Dave Brubeck: In His Own Sweet Way about Brubeck for Turner Classic Movies (TCM) to commemorate his 90th birthday in December 2010.[24]

Brubeck has become a supporter of the Jazz Foundation of America in their mission to save the homes and the lives of elderly jazz and blues musicians, including musicians that survived Hurricane Katrina.[25] Brubeck supported the Jazz Foundation by performing in their annual benefit concert "A Great Night in Harlem" in 2006.[26]

Discography

  • Brubeck Trio with Cal Tjader, Volume 1 (1949)
  • Brubeck Trio with Cal Tjader, Volume 2 (1949)
  • Brubeck/Desmond (1951)
  • Stardust (1951)
  • Dave Brubeck Quartet (1951)
  • Jazz at the Blackhawk (1952)
  • Dave Brubeck/Paul Desmond (1952)
  • Jazz at Storyville (live) (1952)
  • featuring Paul Desmond In Concert (live) (1953)
  • Two Knights at the Black Hawk (1953)
  • Jazz at Oberlin (1953) Fantasy Records
  • Dave Brubeck & Paul Desmond at Wilshire Ebell (1953)
  • Jazz at the College of the Pacific (1953) Fantasy Records
  • Jazz Goes to College (1954) Columbia Records
  • Dave Brubeck at Storyville 1954 (live) (1954)
  • Brubeck Time (1955)
  • Jazz: Red Hot And Cool (1955)
  • Brubeck Plays Brubeck (1956)
  • Dave Brubeck and Jay & Kai at Newport (1956)
  • Jazz Impressions of the U.S.A. (1956)
  • Plays and Plays and... (1957) Fantasy Records
  • Reunion (1957) Fantasy Records
  • Jazz Goes to Junior College (live) (1957)
  • Dave Digs Disney (1957)
  • In Europe (1958)
  • Complete 1958 Berlin Concert (released 2008)
  • Newport 1958
  • Jazz Impressions of Eurasia (1958)
  • Gone with the Wind (1959) Columbia Records
  • Time Out (1959) Columbia Records/Legacy (RIAA: Platinum)
  • Southern Scene (1960)
  • The Riddle (1960)
  • Brubeck and Rushing (1960)
  • Brubeck a la Mode (1961) Fantasy Records
  • Tonight Only with the Dave Brubeck Quartet (1961, with Carmen McRae)
  • Take Five Live (1961, Live, Columbia Records, with Carmen McRae, released 1965)
  • Near-Myth (1961) Fantasy Records
  • Bernstein Plays Brubeck Plays Bernstein (1961)
  • Time Further Out (1961) Columbia Records/Legacy
  • Countdown—Time in Outer Space (1962) Columbia Records
  • The Real Ambassadors (1962)
  • Music From West Side Story (1962)
  • Bossa Nova U.S.A. (1962)
  • Brubeck in Amsterdam (1962, released 1969)
  • At Carnegie Hall (1963)
  • Brandenburg Gate: Revisited (1963) Columbia Records
  • Time Changes (album) (1963)
  • Dave Brubeck in Berlin (1964)
  • Jazz Impressions of Japan (1964) Columbia Records/Legacy
  • Jazz Impressions of New York (1964) Columbia Records/Legacy
  • Angel Eyes (1965)
  • My Favorite Things (1965)
  • The 1965 Canadian Concert (released 2008)
  • Time In (1966) Columbia Records
  • Anything Goes (1966)
  • Bravo! Brubeck! (1967)
  • Buried Treasures (1967, released 1998)
  • Jackpot (1967) Columbia Records
  • The Last Time We Saw Paris (1968)
  • Adventures in Time (Compilation, 1972) Columbia Records
  • The Light in the Wilderness (1968)
  • Compadres (1968)
  • Blues Roots (1968)
  • Brubeck/Mulligan/Cincinnati (1970)
  • Live at the Berlin Philharmonie (1970)
  • The Last Set at Newport (1971) Atlantic Records
  • Truth is Fallen (1972)
  • We're All Together Again For the First Time (1973)
  • Two Generations of Brubeck (1973)
  • Brother, the Great Spirit Made Us All (1974)
  • All The Things We Are (1974)
  • Brubeck & Desmond 1975: The Duets
  • DBQ 25th Anniversary Reunion (1976) A&M Records
  • The New Brubeck Quartet Live at Montreux (1978)
  • A Cut Above (1978)
  • La Fiesta de la Posada (1979)
  • Back Home (1979) Concord Records
  • A Place in Time (1980)
  • Tritonis (1980) Concord Records
  • To Hope! A Celebration By Dave Brubeck (A Mass in the Revised Roman Ritual) - Original now out-of-print 1980 recording conducted by Erich Kunzel. Pastoral Arts Associates (PAA) of North America, Old Hickory, Nashville, Tennesses 37187 LP record number DRP-8318. Music Copyright 1979 St. Francis Music. Recording Copyright 1980 Our Sunday Visitor, Inc.
  • Paper Moon (1982) Concord Records
  • Concord on a Summer Night (1982)
  • For Iola (1984)
  • Marian McPartland's Piano Jazz with guest Dave Brubeck (1984, released 1993)
  • Reflections (1985)
  • Blue Rondo (1986)
  • Moscow Night (1987)
  • New Wine (1987, released 1990)
  • The Great Concerts (Compilation, 1988)
  • Quiet As The Moon (Charlie Brown soundtrack) (1991)
  • Once When I Was Very Young (1991)
  • Time Signatures: A Career Retrospective (Compilation, 1992) Sony Colombia Legacy
  • Trio Brubeck (1993)
  • Late Night Brubeck (1994)
  • Just You, Just Me (solo) (1994)
  • Nightshift (1995)
  • Young Lions & Old Tigers (1995)
  • To Hope! A Celebration (1996)
  • A Dave Brubeck Christmas (1996)
  • In Their Own Sweet Way (1997)
  • So What's New? (1998)
  • The 40th Anniversary Tour of the U.K. (1999)
  • One Alone (2000)
  • Double Live From the USA & UK (2001)
  • The Crossing (2001)
  • Vocal Encounters (Compilation, 2001) Sony Records
  • Classical Brubeck (with the London Symphony Orchestra, 2003) Telarc
  • Park Avenue South (2003)
  • The Gates of Justice (2004)
  • Private Brubeck Remembers (solo piano + Interview disc w. Walter Cronkite) (2004)
  • London Flat, London Sharp (2005) Telarc
  • Indian Summer (2007) Telarc
  • Live at the Monterey Jazz Festival 1958–2007 (2008)
  • Yo-Yo Ma & Friends Brubeck tracks: Joy to the World, Concordia. (2008)Sony BMG
  • Everybody Wants To Be A Cat: Disney Jazz Volume 1 Brubeck tracks: Some Day My Prince Will Come, Alice In Wonderland (with Roberta Gambarini) (2011)

Awards

  • Connecticut Arts Award (1987)
  • National Medal of Arts, National Endowment for the Arts (1994)
  • DownBeat Hall of Fame (1994)
  • Grammy Lifetime Achievement Award (1996)
  • Doctorate honoris causa University of Fribourg, Switzerland (2004)
  • Laetare Medal (University of Notre Dame) (2006)
  • BBC Jazz Lifetime Achievement Award (2007)
  • Benjamin Franklin Award for Public Diplomacy (2008)[19]
  • Inducted into California Hall of Fame (2008)
  • Kennedy Centre Honour (2009)[27]
  • George Washington University Honorary Degree (2010)[28]
  • Honorary Fellow of Westminster Choir College, Princeton, New Jersey (2011)

References

  1. ^ a b Reception honors Concord native son, jazz great Dave Brubeck, ci.concord.ca.us, retrieved on September 28, 2007
  2. ^ http://www.jazz.com/gallery/sony-collectibles
  3. ^ Smithsonianjazz.org
  4. ^ Storb, Ilse (2000). Jazz meets the world – the world meets Jazz, Volume 4 of Populäre Musik und Jazz in der Forschung. LIT Verlag Berlin-Hamburg-Münster. pp. 129. ISBN 3825837483. 
  5. ^ An Hour With Dave Brubeck, WNYC
  6. ^ It's About Time: The Dave Brubeck Story, by Fred M. Hall.
  7. ^ a b Rediscovering Dave Brubeck, PBS
  8. ^ Liner notes to the album "25th Anniversary Reunion", by The Dave Brubeck Quartet
  9. ^ Starr, Kevin. 2009. Golden dreams: California in an age of abundance, 1950–1963. Oxford: Oxford University Press.
  10. ^ Down Beat artists profile
  11. ^ Music: The Man on Cloud No. 7 (cover story) TIME, November 8, 1954.
  12. ^ Time magazine cover: Louis Armstrong – February 21, 1949
  13. ^ Kaplan, Fred (2009). 1959: The Year that Changed Everything. John Wiley & Songs. pp. 131. 
  14. ^ Kaplan (2009). 1959. pp. 131-132. 
  15. ^ "Darius Brubeck – Piano". Rediscovering Dave Brubeck. PBS. http://www.pbs.org/brubeck/theMan/darius.htm. Retrieved March 14, 2011. 
  16. ^ Rediscovering Dave Brubeck, PBS
  17. ^ "Jazz legend Dave Brubeck to receive Laetare Medal". University of Notre Dame Office of News & Information. March 25, 2006. http://newsinfo.nd.edu/news/8301-jazz-legend-dave-brubeck-to-receive-laetare-medal. Retrieved December 13, 2009. 
  18. ^ Brubeck Summer Jazz Colony – University of the Pacific
  19. ^ a b c d e "Jazz great Brubeck wins US public diplomacy award", AFP, April 8, 2008.
  20. ^ "Whatever Happened to Cultural Diplomacy?", All About Jazz, April 19, 2008.
  21. ^ "Artists Dominate the 2008 "California Hall of Fame"". California Arts Council. May 28, 2008. http://www.cac.ca.gov/artsnews/featuredetail.php?id=46. Retrieved December 13, 2009. 
  22. ^ "Kennedy Center Honorees for 2009 Are: Mel Brooks, Robert De Niro, Grace Bumbry, Bruce Springsteen and Dave Brubeck". The Washington Post. September 9, 2009. http://www.washingtonpost.com/wp-dyn/content/article/2009/09/09/AR2009090901512.html. Retrieved July 26, 2011. 
  23. ^ . Berklee College of Music. August 19, 2009. http://www.berklee.edu/news/853/dave-brubeck-to-receive-honorary-doctorate. Retrieved July 26, 2011. 
  24. ^ "In Dave Brubeck’s Own Sweet Way". Jazz Times. http://jazztimes.com/articles/26871-in-dave-brubeck-s-own-sweet-way. Retrieved January 13, 2011. 
  25. ^ Allaboutjazz.com. February 11, 2009. Allaboutjazz.com
  26. ^ blogspot.com. February 11, 2009. Blogspot.com.
  27. ^ Kennedy-center.org
  28. ^ GWU.edu

Bibliography

  • Isenberg, Barbara. State of the Arts: California Artists Talk About Their Work. 2005

External links

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Time Changes (1963 Album by The Dave Brubeck Quartet)
Jazz Showcase (1994 Album by Various Artists)
Jazz: The Intimate Art (1980 Music Film)

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