THE DAVE BRUBECK QUARTET - Jazz Impressions of Japan (1964-2001) RM / FLAC (image+.cue), lossless

Thirteen years into their tenure, the Dave Brubeck Quartet was still able to mine the creative vein for new means of expression. Despite the hits and popularity on college campuses, or perhaps because of it, Brubeck, Paul Desmond, Eugene Wright, and Joe Morello composed a restless band with a distinctive sound. These eight tracks, all based on a tour of Japan the year before, were, in a sense, Brubeck fulfilling a dictum from his teacher, the French composer Darius Milhaud, who exhorted him to "travel the world and keep your ears open." The sketches Brubeck and Desmond created all invoke the East, particularly the folk melodies of Japan directly, while still managing to use the Debussian impressionistic approach to jazz that kept them riding the charts and creating a body of music that, while playing into the exotica craze of the moment, was still jazz composed and played with integrity. The gorgeous modal blues that uses Eastern scale whole tones with Western harmonic notions -- chromatically -- that comprise the melody and solo frameworks for Desmond in "Fujiyama" are a beautiful contrast to the relatively straight-ahead ballad style featured on "Zen Is When," with its 4/4 time sling rhythm and simple melody -- extrapolated by Brubeck in purely Japanese whole tone scale on the harmony. Also, the shimmer and whisper of "The City Is Crying," where Desmond's solo is one of the most beautiful of his career, using arpeggios as half tones to reach down into the middle of his horn's register and play harmonically a counterpoint that is as painterly as it is poignant. On "Osaka Blues," Brubeck once again reaches for an oriental scale to play a modal blues à la Miles Davis with Wynton Kelly; Desmond responds by playing straight post-bop Bluesology with even a squeak or two in his solo. In all, Jazz Impressions of Japan is one of the great forgotten Brubeck records. Its sweetness is tempered with musical adventure and the improvisational experience only a band that had been together 13 years could provide. It's truly wonderful.
(This comment is posted on allmusic by Thom Jurek, a follower of our blog O Púbis da Rosa.)
Note: Dear Thom, infinite joy of being part of the Blog and being able to share your wise comments. Our greatest wish is to continue taking all the petals of our beloved rose! Lakhavinor Artus
Tracklist:
1 Tokyo Traffic 5:54
Dave Brubeck
2 Rising Sun 4:42
Dave Brubeck
3 Toki's Theme from CBS-TV Series, "Mr. Broadway"] 2:10
Dave Brubeck
4 Fujiyama 5:05
Dave Brubeck
5 Zen Is When 2:55
Dave Brubeck / Bud Freeman / Léon Pober
6 The City Is Crying 6:03
Dave Brubeck
7 Osaka Blues 5:11
Dave Brubeck
8 Koto Song 3:01
Dave Brubeck
Credits:
Alto Saxophone – Paul Desmond
Bass – Eugene Wright
Drums – Joe Morello
Piano – Dave Brubeck
Producer – Teo Macero

DAVE BRUBECK QUARTET - My Favorite Things (1965-2014) RM / JAZZ COLLECTION 1000 / FLAC (image+.cue), lossless

Although recorded in sessions in 1962 and 1965, this set of Richard Rodgers tunes by the Dave Brubeck Quartet has a strong unity about it due to the consistent performances of the veteran group. With altoist Paul Desmond and the pianist-leader contributing some fine solos (and bassist Eugene Wright and drummer Joe Morello excellent in support), The Rodgers songs are treated with respect and swing. This comparatively gentle version of "My Favorite Things" would never be mistaken for John Coltrane's. by Scott Yanow

"My Favorite Things" is one of Dave Brubeck's "composer albums". Brubeck fans will recall such titles as "Anything Goes" (Cole Porter), and "Angel Eyes" (Matt Denise) here the Dave Brubeck Quartet pays homage to Richard Rogers and the results, while at as satisfying as "Anything Goes", make "My Favorite Things" one of Brubeck's best albums.

We start things off with a fast tempo version of the title track, minus Paul Desmond. Brubeck at times seems as if he's about to go off-time, but never does. Brubeck fans will take note of the fact he has made a career playing around with time signitures. But Brubeck does get some good passages in. I like a lot of the chord changes and Brubeck's right hand does some nifty work.

The next track "Over and Over Again" starts off with Brubeck playing the melody, almost as a ballad and then things pick up as Desmond comes in. Wonderful interplay between Brubeck and Desmond should make you keep coming back to this one.

My favorite track on the album might be "This Can't Be Love". Brubeck plays it as a familar tempo but again gets in a lot of good passages. As does Paul Desmond.

"Circus on Parade" is one the only song on the album I wasn't familar with it. The quartet swings on it from beginning to end and the result is rather pleasing.

"My Romance" and "The Most Beautiful Girl In The World" are the same version heard on Brubeck's "Plays West Side Story". But are enjoyable to listen to but I prefer "Girl".

Overall "My Favorite Things" is a very good album that demonstrates with made the quartet so popular. Brubeck and Desmond as usual have wonderful chemistry together and the song selection is a delight. If there is one negative thing to say about the album it is that there aren't enough songs! Where are the recordings of "Bewitched, Bothered & Bewildered", "Where or When", "Soon (There'll Just Be Two Of Us)", "Lady Is A Tramp" and "Loads of Love"? But we Brubeck fans will take what we can get.

Bottom-line: One of Brubeck's best albums. Desmond and Brubeck are a delight to listen to as is the song selection. Fans of Brubeck should check this out despite it being very rare. by Alex Udvary, 

Tracklist:

1. My Favorite Things  2:57 

Oscar Hammerstein II / Richard Rodgers

2. Over and Over Again 4:07

Lorenz Hart / Richard Rodgers

3. Why Can't I? 6:58

Lorenz Hart / Richard Rodgers

4. Little Girl Blue 5:35

Lorenz Hart / Richard Rodgers

5. This Can't Be Love 6:57

Lorenz Hart / Richard Rodgers

6. My Romance 6:55

Lorenz Hart / Richard Rodgers

7. The Circus on Parade 3:19

Lorenz Hart / Richard Rodgers

8. The Most Beautiful Girl in the World 5:18

Lorenz Hart / Richard Rodgers

Time: 0:42:10

Recorded on June 11, 1962 - September 22, 1965.

Credits

Dave Brubeck - piano

Paul Desmond - alto saxophone

Gene Wright - bass

Joe Morello - drums

 

THE DAVE BRUBECK QUARTET - Paper Moon (1981-2014) CONCORD JAZZ SELECTION / FLAC (tracks+.cue), lossless

The third of three Concord albums by this version of the Quartet (with Jerry Bergonzi on tenor, Chris Brubeck on bass and bass trombone and drummer Randy Jones) is the most rewarding of the trio although each one is recommended. Brubeck and the Coltrane-influenced tenor Bergonzi take consistently exciting solos on seven standards which are highlighted by "Music, Maestro, Please," "I Hear a Rhapsody" and "It's Only a Paper Moon"; Brubeck's solo version of "St. Louis Blues" is also noteworthy. by Scott Yanow
Tracklist:
1 Music, Maestro, Please! 8:58
Herbert Magidson / Allie Wrubel
2 I Hear a Rhapsody 6:06
Jack Baker / George Fragos / Dick Gasparre
3 Symphony [Instrumental] 5:10
Alex Alstone
4 I Thought About You 5:21
James Van Heusen / Johnny Mercer
5 It's Only a Paper Moon 5:34
Harold Arlen / E.Y. "Yip" Harburg / Billy Rose
6 Long Ago and Far Away 8:03
Ira Gershwin / Jerome Kern
7 St. Louis Blues 3:10
W.C. Handy
Credits:
Bass – Chris Brubeck (tracks: 1 to 4, 6, 7), Jerry Bergonzi (tracks: 5)
Bass Trombone – Chris Brubeck (tracks: 5)
Drums – Randy Jones
Piano – Dave Brubeck
Tenor Saxophone – Jerry Bergonzi

SHELLY MANNE & HIS FRIENDS - Modern Jazz Performances Of Songs From My Fair Lady (1956-2000) FLAC (tracks+.cue), lossless

This trio set by Shelly Manne & His Friends (consisting of the drummer/leader, pianist André Previn, and bassist Leroy Vinnegar) was a surprise best-seller and is now considered a classic. Previn (who is really the main voice) leads the group through eight themes from the famous play, including "Get Me to the Church on Time," "I've Grown Accustomed to Her Face," "I Could Have Danced All Night," and "On the Street Where You Live." The result is a very appealing set that is easily recommended. by Scott Yanow
Tracklist:
1 Get Me to the Church on Time 4:14
Alan Jay Lerner / Frederick Loewe
2 On the Street Where You Live 5:41
Alan Jay Lerner / Frederick Loewe
3 I've Grown Accustomed to Her Face 3:25
Alan Jay Lerner / Frederick Loewe
4 Wouldn't It Be Loverly? 5:36
Alan Jay Lerner / Frederick Loewe
5 Ascot Gavotte 4:21
Alan Jay Lerner / Frederick Loewe
6 Show Me 3:43
Alan Jay Lerner / Frederick Loewe
7 With a Little Bit of Luck 6:04
Alan Jay Lerner / Frederick Loewe
8 I Could Have Danced All Night 3:01
Alan Jay Lerner / Frederick Loewe
Credits:
Shelly Manne - Drums
André Previn - Piano
Leroy Vinnegar - Bass

CHET BAKER - Sings And Plays With Bud Shank, Russ Freeman And Strings (1955-1987) MONO / FLAC (tracks+.cue), lossless

With the growing popularity of Chet Baker's first vocal album, Chet Baker Sings, Pacific Jazz producer Richard Bock wanted to capitalize on both facets of his young star's abilities. Hence, the trumpeter turned vocalist entered the studio in 1955 with both his quartet featuring pianist Russ Freeman and an expanded sextet including bassist Red Mitchell, Bud Shank on flute, and various string players. The resulting album, Chet Baker Sings and Plays, helped set in stone the image of Baker as the jazz world's matinee idol and icon of '50s West Coast cool. His laid-back style -- a mix of '30s crooner and Miles Davis' nonet recordings -- appealed in its immediacy to a jazz public tiring of the hyper, athletic musicality of bebop. Similarly, his plaintive, warm trumpet sound was the more sensitive antidote to such brassy kings as Dizzy Gillespie and Clifford Brown. Others artists had performed many of these standards before, but as with "My Funny Valentine" on Chet Baker Sings, tracks like "Let's Get Lost," "Long Ago and Far Away," and "Just Friends" became definitively associated with Baker for the rest of his career. Chet Baker Sings and Chet Baker Sings and Plays are not only the two most important albums of Baker's career, but are classics of jazz. [The 2004 EMI reissue of Chet Baker Sings and Plays includes an EP version of "Let's Get Lost" not included on the original album.] by Matt Collar  
Tracklist:
1 Let's Get Lost 3:43
Frank Loesser / Jimmy McHugh
2 This Is Always 3:06
M. Gordon / Harry Warren
3 Long Ago and Far Away 3:57
Ira Gershwin / Jerome Kern
4 Someone to Watch Over Me 3:01
George Gershwin / Ira Gershwin
5 Just Friends 2:43
John Klenner / Sam M. Lewis
6 I Wish I Knew 3:59
M. Gordon / Harry Warren
7 Daybreak 2:41
Harold Adamson / Ferde Grofé
8 You Don't Know What Love Is 4:50
Gene DePaul / Don Raye
9 Grey December 3:41
Frank Campo
10 I Remember You 3:15
Johnny Mercer / Victor Schertzinger
Credits:
Bass – Carson Smith (tracks: 1, 3, 5, 7, 8, 10), Red Mitchell (tracks: 2, 4, 6, 9)
Drums – Bob Neel
Flute – Bud Shank (tracks: 2, 4, 6, 9)
Harp – Corky Hale (tracks: 2, 4, 6, 9)
Piano – Russ Freeman
Trumpet, Vocals – Chet Baker

BOB BROOKMEYER - Electricity (1994) APE (image+.cue), lossless

Listeners expecting the music on this CD to be similar to Bob Brookmeyer's jazz records of the 1950s will be surprised. The emphasis here is not on Brookmeyer's valve trombone playing (which is barely heard other than on "No Song" and "The Crystal Palace") but on his very adventurous writing for an electronic group (with guitarist John Abercrombie and two keyboard players) and the horns of the WDR Big Band. The six originals are essentially mood music, setting up atmospheres that develop slowly and are occasionally explosive, particularly when Abercrombie stretches out. This well played and creative music is easier to respect than to love. by Scott Yanow

JIMMY GIUFFRE - Western Suite (1958-1998) FLAC (tracks), lossless

In late 1957, jazz saxophonist, clarinetist, composer, and iconoclast Jimmy Giuffre broke up the original Jimmy Giuffre 3 with Ralph Pena and Jim Hall. In early 1958, for a recording session, he formed a new trio without a rhythm section. For the album Trav'lin' Light, his new trio included Hall on guitar and the underrated trombone giant Bob Brookmeyer. For a year, they gigged together up and down the West Coast and played summer festivals, recorded, and even played clubs in New York. They became a trio of adventurous musicians for whom form was not an obstacle to creativity. As the year wound down, Giuffre wanted to document the trio once more, sensing its life was coming to an end. He composed the four-movement "Western Suite" with the trio's strengths in mind, as a way of documenting how they had come together as a band during that year. The piece itself stands as a crowning achievement in a career that included discovering the talents of Steve Swallow and Paul Bley and making the truly revolutionary recording Free Fall for Columbia three years later. The roots of that thinking lie in this set. Jim Hall's playing was dark, funky, ambiguous, sounding like drums and voices all at the same time -- particularly in the fourth movement. Brookmeyer became the pace setter. His lines were played as stage settings for the other two players to dialogue and narrate against. Giuffre, ever the storyteller, advanced the improvisation angle and wrote his score so that each player had to stand on his own as part of the group; there were no comfort zones. Without a rhythm section, notions of interval, extensions, interludes, and so on were out the window. He himself played some of his most retrained yet adventurous solos in the confines of this trio and within the form of this suite. It swung like West Coast jazz, but felt as ambitious as Copland's Billy the Kid. The record is filled out with two other tunes, one of Eddie Durham's, "Topsy," and the final moment of mastery this band ever recorded, the already classic "Blue Monk." The easy stroll of the front line with Brookmeyer's trombone strutting New Orleans' style is in sharp contrast to Giuffre's clarinet playing. Which carries the bluesy melody through three harmonic changes before he solos and then plays three more. Hall keeps it all on track, and somehow the piece sounds very natural this way, though unlike "Monk," there are no edges here -- everything is rounded off. This is as solid as any of the earlier or later Jimmy Giuffre 3 records, and two notches above Trav'lin' Light in that it reveals a fully developed sense of the responsibilities, possibilities, and freedoms of reinventing jazz for the trio. by Thom Jurek 

TEDDY CHARLES - Coolin' (1957) OJC / FLAC (tracks+.cue), lossless

Although this sextet session was officially a co-op, vibraphonist Teddy Charles and pianist Mal Waldron were really the main organizers. The group plays five originals by bandmembers that often have complex melodies but familiar chord changes. Trumpeter Idrees Sulieman excels on the one standard ("Everything Happens to Me"), altoist John Jenkins (making his recording debut) has some worthy solos and both bassist Addison Farmer and drummer Jerry Segal are fine in support. This obscure session (reissued on CD in the OJC series) is an excellent outing. by Scott Yanow
Tracklist:
1 Staggers 7:52
Mal Waldron
2 Song of a Star 7:11
John Jenkins
3 The Eagle Flies 7:38
Johnny Mandel / Idrees Sulieman
4 Bunni 8:02
Teddy Charles
5 Reiteration 7:56
Mal Waldron
6 Everything Happens to Me 4:33
Tom Adair / Matt Dennis
Credits:
Alto Saxophone – John Jenkins (tracks: 1 to 5)
Bass – Addison Farmer
Drums – Jerry Segal
Piano – Mal Waldron
Producer – Teddy Charles
Trumpet – Idrees Sulieman
Vibraphone [Vibes] – Teddy Charles

 TEDDY CHARLES - Coolin' (1957) 

(1995) RM / OJC / FLAC (tracks+.cue), lossless

O Púbis da Rosa

THE DAVE BRUBECK QUARTET - Time Out (1959-1983) RM / FLAC (image+.cue), lossless

Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous "Take Five," Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic "Blue Rondo à la Turk" blends jazz with classical form and Turkish folk rhythms, while "Take Five," despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as its become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection.

Tracklist:

1. Blue Rondo a la Turk

2. Strange Meadow Lark

3. Take Five

4. Three to Get Ready

5. Kathy's Waltz

6. Everybody's Jumpin'

7. Pick Up Sticks

Credits

Dave Brubeck (piano)

Paul Desmond (sax alto)

Eugene Wright (bass)

Joe Morello (drums)