Dave Brubeck

[NOTE: Musical Theory posts will resume next week!]

Link (The Brubeck Institute):
http://www.pacific.edu/brubeck/

Name: David Warren Brubeck
Born: December 6, 1920
Instrument: Piano

Rebellious:
Dave Brubeck is a man of eccentric time signatures. Using everything from 5/4, 6/4, 7/4, to my personal favorite 9/8, Brubeck is an interesting combination of the well-trained, the whimsical, and a tried-and-true Jazz man. Born in Concord, California, Brubeck was schooled classically, but quickly developed his unique improvisational skills. It was his mother, an aspiring concert pianist, that gave him his piano training. Brubeck, like most piano students, was not interested in reading music or sticking to any particular methodology, and wrote his own melodies instead. This later caused problems for him, almost getting him expelled from college when it was discovered he couldn't read sheet music. Upon testimony of many of his professors, and a solemn promise that he would never teach piano, Brubeck was allowed to stay until his graduation in 1942, after which he was drafted into the army for four years. Later, he would return to school to study fugue and orchestration, under Darius Milhaud. The Dave Brubeck Quartet was formed in 1951, which included Joe Dodge on the drums, Bob Bates on bass, and the talented Paul Desmond on sax. Probably the most famous Dave Brubeck Quartet song, Take Five, was not actually written by Brubeck, but Paul Desmond. Drum and bass were later chaired by Eugene Wright and Joe Morello, causing Brubeck to cancel many concerts and television appearances in the late 1950's because of Eugene's African-American heritage.

Talented:
In 1959 the hesitantly released Time Out stunned audiences with such pieces as Take Five (in 5/4), Blue Rondo a la Turk (in 9/8), and Pick Up Sticks (in 6/4). The record quickly went platinum and they followed up with Time Further Out, Time in Outer Space, and Time Changes. The covers of these albums used modern art that was as quirky as their music, including Franz Kline and Joan Miro. Brubeck went on to compose (and in some cases record) two ballets, a musical, an oratorio, four cantatas, a mass, works for jazz combo and orchestra, and too many solo piano pieces to count. In recent years he has continued to play, organize more quartets, and continue with various projects. He has been honoured with the BMI Jazz Pioneer Award, the 1988 American Eagle Award (presented by the National Music Council), as well as four honourary degrees. But we all know that all the recognition in the world means nothing if the music doesn't live up to it. Below are links to Take Five and on of my all-time favorites as a kid Blue Rondo a la Turk. (I used to play along to the first minute or so, and then lay on the floor by the piano and just listen to the rest. If you are able to lay on the floor near a piano and listen to this piece, that is how I recommend you hear it. If not, I'm sure it won't detract from the work!) You tell me if the man has lived up to the legend.

...And a Good Man:
Above all else, Dave Brubeck is among some of the few truly good men in music. Just as he wouldn't make a television appearance in the late 1950's after hearing that his bass player was to be kept off camera because of his race, Brubeck is one of the few greats who knows it isn't all about him. It's about the music. Please take the opportunity to look around the link above to The Dave Brubeck Institute, which is described in Dave's own words:

When I graduated from college in 1942, little did I dream that some day an incredible program such as that offered by the Brubeck Institute would be established at my alma mater, University of the Pacific. Back in the ‘40s, the thought of a jazz studies program at the Conservatory of Music was inconceivable. We weren’t even allowed to play jazz in the practice rooms. Although I was enrolled in the Conservatory as a music major, I was also engaged in an unauthorized course of study, playing jazz piano in nightclubs and dance halls, gaining real life experience as a musician and performer. This was my internship and initiation into the world of music making. Now, such performance opportunities are created in the Fellowship program that allows talented students to focus on practice and performance while learning from professional musicians and visiting jazz masters.

The Institute is a realization of a dream. From the earliest days in my career I sought the acceptance and recognition of jazz as a serious art from that reflected American ideals of freedom and individual expression balanced with group responsibility and interdependence. Like America itself, jazz has always drawn from many cultures and has been enriched by that cross-fertilization.

The Brubeck Institute is not about jazz studies alone, however. It is also about social and philosophical issues. Over the years I have become more and more interested in applying these thoughts to classical composition for chorus and orchestra, chamber ensembles, and contemporary music in a variety of forms. I believe in the power of music to transform lives as well as to enlighten and entertain.

Once when asked how I would like to be remembered, I answered, “As someone who opened doors.” The purpose of the Brubeck Institute is to provide the key that opens doors for all who participate, whether as a research scholar in the Brubeck Archives, a Brubeck Fellow or Colonist, a member of academic symposia, a classical performer or teacher, contemporary composer, or an interested member of the audience. The door is open. Welcome!

Dave Brubeck

[Links removed, files are available upon request]