Paul Desmond (alt) Dave Brubeck (p) Gene Wright (b) Joe Morello (d). It’s A Raggy Waltz Bluette Charles Matthews Halleluiah Far More Blue (19 min) – Far More Drums Maori Blues Unsquare Dance Bru’s Boogie Woogie Blue Shadows In The Street (18½ min) Dave has always been one of my favorite jazz pianists and his bassist is also j. The original recording of The Dave Brubeck Quartets Take Five performance includes improvised solos by:. Additionally, we have more than 7,000 of h. Drum solos, no matter how good, aren’t my cup of tea, and Morello’s unquestionably brilliant display on “Far More Drums” leaves me cold. This is the official live video of Take Five by the legendary Dave Brubeck. Reelin’ In The Years Productions has available for licensing over 20,000 hours of music footage spanning 90 years. “Maori Blues”, featuring typical heavy-handed Brubeck, is attractive if somewhat repetitious, and the hand-clapping “Unsquare Dance” has a loose swing that is hard to ignore. Niger in the grips of attempted coup against President Mohamed Bazoum. Brubeck comes through nicely on all three titles, beautifully supported by the Gene Wright-Joe Morello team. Paul Desmond - Take Five Live - Remastered 2016. “Raggy Waltz”, a rhythmic variation of rag and waltz patterns in blues form, strikes me as the most impressive track, and “Bru’s Boogie Woogie” and “Far More Blue” are almost equally engaging. i did three takes, until my kick drum pedal got tired of me davebrubeck joemorello pauldesmond eugenewrightAudio taken from: Dave Brubeck Live in Belgi. His is the principal voice, and Paul Desmond isn’t featured as much as you’d expect – which pleases me, since with all due respect to Desmond’s technical and creative ability, I find his anaemic alto unbearably irritating. Moreso than most of his past releases, this is very much Brubeck’s album. It is by no means devoid of faults, but it has a degree of sustaining power that is absent from so many of the pianist’s albums. This set, a follow-up to the similarly patterned “Time Out” album (and the hit single “Take Five”) is the most provocative and entertaining Brubeck recital I’ve heard for a couple of years. The Dave Brubeck Quartet recorded various versions of the song, including. Is he setting out to blind us with technical science? Does he believe it will have some influence on the future development of jazz? Or is his aim simply to produce something different and more interesting than his previous LPs? If this is the case, then even a non-Brubeck enthusiast like myself is forced to concede that his efforts are well worth investigating. The tune was first performed live in 1959 at the Village Gate club in New York City. I’m not sure what Dave Brubeck hopes to gain from his experimentation with time signatures.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |