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Jazz - Publicado el 22 de mayo de 2009 | Columbia - Legacy

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Jazz - Publicado el 15 de septiembre de 1991 | Columbia - Legacy

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Cool jazz - Publicado el 17 de septiembre de 2010 | Columbia - Legacy

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Jazz - Publicado el 1 de enero de 1953 | Fantasy Records

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Although a touch underrated, Jazz at Oberlin is one of the early Dave Brubeck classic recordings. The interplay between the pianist-leader and altoist Paul Desmond on "Perdido" borders on the miraculous, and their renditions of "The Way You Look Tonight," "How High the Moon" and "Stardust" are quite memorable. Brubeck's piano playing on "These Foolish Things" is so percussive and atonal in one spot as to sound like Cecil Taylor, who would not emerge for another two years. With bassist Ron Crotty and drummer Lloyd Davis giving the Quartet quiet and steady support, Brubeck and Desmond were free to play at their most adventurous. Highly recommended. © Scott Yanow /TiVo
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Jazz - Publicado el 12 de noviembre de 2010 | Columbia - Legacy

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Jazz - Publicado el 15 de marzo de 2005 | Rhino Atlantic

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Jazz - Publicado el 25 de septiembre de 1990 | Columbia Jazz Masterpieces

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Jazz - Publicado el 20 de mayo de 2011 | Columbia - Legacy

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Jazz - Publicado el 1 de enero de 1967 | Columbia - Legacy

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One of the better Dave Brubeck LPs from the later period of the Quartet with altoist Paul Desmond, this set is unusual in that it only contains one Brubeck original. On such tunes as "Cielito Lindo," the beautiful "La Paloma," "Besame Mucho" and "Estrellita," the Quartet is augmented by guitarist Chamin Correa and percussionist Rabito Agueros. The results are melodic but swinging treatments of a variety of famous themes. © Scott Yanow /TiVo
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Jazz - Publicado el 21 de abril de 1992 | Legacy - Columbia

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Jazz - Publicado el 7 de octubre de 1991 | Legacy - Columbia

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This excellent CD reissues the LP Brubeck Time plus half of Red Hot and Cool. One of the few early studio (as opposed to club) recordings by the early Dave Brubeck Quartet (this version has bassist Bob Bates and drummer Joe Dodge in addition to pianist Brubeck and altoist Paul Desmond), the fine unit performs nine standards plus three new compositions: "Stompin' for Mili," "Audrey" (dedicated to Audrey Hepburn) and Brubeck's classic, "The Duke." © Scott Yanow /TiVo
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Jazz - Publicado el 1 de enero de 1992 | Fantasy Records

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Jazz - Publicado el 1 de enero de 1990 | Fantasy Records

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Jazz - Publicado el 25 de mayo de 1976 | Rhino Atlantic

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Jazz - Publicado el 15 de marzo de 2005 | Rhino Atlantic

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Jazz - Publicado el 1 de enero de 1963 | Columbia - Legacy

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Four of the five selections on Brandenburg Gate: Revisited (1963) are new interpretations of Dave Brubeck (piano) classics scored by the pianist's older sibling, Howard Brubeck, who is likewise the author of the "G Flat Theme," which is offered here for the first time. By the time of this 1963 platter, the perpetually touring Dave Brubeck Quartet had played behind a few of the North America's finest ensembles -- commencing with a personal invitation extended by Robert Shaw and the San Diego Symphony in 1956. In fact, these expanded arrangements were actually done live before they were recorded in the studio. A similar fate befell material from Brubeck Plays Bernstein Plays Brubeck (1960), which was the Quartet's earlier orchestral collaboration. "Brandenburg Gate" has been significantly expanded from the version heard on Jazz Impressions of Eurasia (1958). The selection has developed into a side-long suite that includes substantial emotive counterpoint connecting the moody and contemplative strings and the swinging melodic contributions of Paul Desmond (alto sax), Eugene Wright (bass), and Joe Morello (drums). The subtle tension and liberation that exists between the two arguably disparate aggregates prevent either from overpowering the other. Likewise, spirited leads and improvisations from Brubeck and Desmond keep the elaborate piece agile and firmly rooted in jazz. "Summer Song" is given a stately update, reflecting the easygoing nature of the Jazz Impressions of the U.S.A. (1956) reading. Desmond once again reels off impressive lines that never detract from the tastefully understated string augmentation. The affective "In Your Own Sweet Way" has evolved from the piano solo that initially graced Brubeck Plays Brubeck (1956). The accompaniment is pronounced as it wafts beneath Brubeck's spontaneous chord progressions and nimbly executed keyboarding. As previously mentioned, "G Flat Theme" is the only tune debuted on Brandenburg Gate: Revisited. What begins as dark and melancholy dissipates into a mid-tempo groove that drives both Brubeck and Desmond into some very interesting spaces as they quickly adapt their sound to the slightly noir, but highly memorable chorus. "Kathy's Waltz" benefits from a more thorough examination, as compared to the Time Out (1959) rendering. There is a stately air present on this interpretation that remains conspicuously discreet on the more familiar outing. On the whole, of all the reworkings this one seems to be the most rewarding, especially as Desmond is backed with the lush full-bodied orchestra. © Lindsay Planer /TiVo
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Jazz - Publicado el 6 de noviembre de 2020 | Dave Brubeck

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Ambientes - Publicado el 1 de enero de 1996 | Telarc

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Jazz - Publicado el 14 de junio de 1966 | Columbia - Legacy

Time In, issued in 1965, was the last of pianist and composer Dave Brubeck's "Time" recordings, and one of his most musically adventurous. Gone are the moody, silky textures and glissando moves of Time Out, or Time Further Out. In fact, of all the "Time" recordings, this is the least commercial and, in places, almost hard bop-oriented among them. This set goes beyond the entire West Coast idea as well. That's not to say there are no ballads -""Softly, William, Softly"" is one of the most gorgeous ballads Brubeck ever composed, with a memorable solo by Paul Desmond, who plays a slow, bluesy articulation over the pianist's augmented harmonic changes. But there's so much more. The title track has Stravinsky-esque chords that introduce a delicate theme, which disintegrates into a dissonant swing. There is also Brubeck variation on "Frankie and Johnnie," on "He Done Her Wrong." This track comes charging out of the box à la the Ramsey Lewis trio in a fit of pure one-four-five groove, with Desmond playing ostinato throughout the chorus. And here, Brubeck shows his love of tradition: Inside his solo, comprised of chords and striated intervallic figures that are just off the harmonic series, he never leaves the original behind; it is always readily evoked at any moment in the tune. The set closes with "Cassandra," a piece with sleight-of-hand rhythms and fleet soloing by the pianist and Desmond. Brubeck himself comes out of the melody with a series of 16th notes that blaze into 32nds before he comes back to the changes for Desmond. All the while, Joe Morello is triple-timing the band even in the slower passages just to keep the pulse on target as Gene Wright and Brubeck move all around the time figures to create a sense of space around Desmond's solo. Though it is seldom celebrated as such, this is one of Brubeck's finest moments on Columbia. © Thom Jurek /TiVo

Jazz - Publicado el 2 de abril de 2001 | SMSP

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