Dave Brubeck, Whose Distinctive Sound Gave Jazz New Pop, Dies at 91
By BEN RATLIFF
Published: December 5, 2012 348 Comments
Dave Brubeck, the pianist and composer who helped make jazz popular again in the 1950s and ’60s with recordings like “Time Out,” the first jazz album to sell a million copies, and “Take Five,” the still instantly recognizable hit single that was that album’s centerpiece, died on Wednesday in Norwalk, Conn. He would have turned 92 on Thursday.
Multimedia
Related
Times Topic: Dave Brubeck
A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics.
Readers’ Comments
Readers shared their thoughts on this article.
He died while on his way to a cardiology appointment, Russell Gloyd, his producer, conductor and manager for 36 years, said. Mr. Brubeck lived in Wilton, Conn.
In a long and successful career, Mr. Brubeck brought a distinctive mixture of experimentation and accessibility that won over listeners who had been trained to the sonic dimensions of the three-minute pop single.
Mr. Brubeck experimented with time signatures and polytonality and explored musical theater and the oratorio, baroque compositional devices and foreign modes. He did not always please the critics, who often described his music as schematic, bombastic and — a word he particularly disliked — stolid. But his very stubbornness and strangeness — the blockiness of his playing, the oppositional push-and-pull between his piano and Paul Desmond’s alto saxophone — make the Brubeck quartet’s best work still sound original.
Outside of the group’s most famous originals, which had the charm and durability of pop songs ( “Blue Rondo à la Turk,” “It’s a Raggy Waltz” and “Take Five”), some of its best work was in its overhauls of standards like “You Go to My Head,” “All the Things You Are” and “Pennies From Heaven.”
David Warren Brubeck was born on Dec. 6, 1920, in Concord, Calif., near San Francisco. Surrounded by farms, his family lived a bucolic life: his father, Pete, was a cattle buyer for a meat company, and his mother, Elizabeth, was a choir director at the nearby Presbyterian church. When Mr. Brubeck was 11, the family moved to Ione, Calif., where his father managed a 45,000-acre cattle ranch and owned his own 1,200 acres.
Forbidden to listen to the radio — his mother believed that if you wanted to hear music you should play it — Mr. Brubeck and his two brothers all played various instruments and knew classical études, spirituals and cowboy songs. He learned most of this music by ear: because he was born cross-eyed, sight-reading was nearly impossible for him in his early years as a musician.
Playing for Local Dances
When Mr. Brubeck was 14, a laundryman who led a dance band encouraged him to perform in public, at Lions Club gatherings and Western swing dances; he was paid $8 for playing from 9 p.m. to 4 a.m., with a one-hour break. But until he went to college he was an aspiring rancher, not an aspiring musician.
At the College of the Pacific, in Stockton, he first studied to be a veterinarian but switched to music after a year. It was there that he learned about 20th-century culture and read about Freud, Marx and serial music; it was also there that he met Iola Whitlock, a fellow student, who became his wife in 1942.
He graduated that year and immediately enlisted in the Army. For two years he played with the Army band at Camp Haan, in Southern California. In 1944 Private Brubeck became a rifleman, entering basic training — first in Texas, then in Maryland — and was then sent to Metz, in northeast France, for further preparation for combat.
When his new commanding officer heard him accompany a Red Cross traveling show one day, Mr. Brubeck recalled, he told his aide-de-camp, “I don’t want that boy to go to the front.” Thereafter, Mr. Brubeck led a band that was trucked into combat areas to play for the troops. He was near the front twice, during the Battle of the Bulge, but he never fought.
Finished with the Army at 25, Mr. Brubeck moved with his wife into an apartment in Oakland, Calif., and, on a G.I. Bill scholarship, studied at Mills College there with the French composer Darius Milhaud. Milhaud asked the jazz musicians in his class to write fugues for jazz ensembles, and Mr. Brubeck played the results at a series of performances at the college. Mr. Brubeck had such admiration for his teacher that he named his first son, born in 1947, Darius.
An Instant Partnership
This article has been revised to reflect the following correction:
Correction: December 5, 2012
An earlier version of this obituary erroneously attributed a distinction to Mr. Brubeck. He was the second jazz musician to be featured on the cover of Time magazine, not the first. That version also misstated the name of a song at one point. It is “Take Five,” not “Time Out.” (“Time Out” is the name of the album on which “Take Five” first appeared.) It also said that “Take Five” was the first jazz single to sell a million copies, instead it was the album “Time Out” that sold over a million copies.
This article has been revised to reflect the following correction:
Correction: December 11, 2012
An obituary on Thursday about the jazz pianist and composer Dave Brubeck referred incorrectly to his military service during World War II. He enlisted in the Army; he was not drafted.
David Warren "Dave" Brubeck (December 6, 1920 – December 5, 2012) was an American jazz pianist and composer, considered to be one of the foremost exponents of progressive jazz. He wrote a number of jazz standards, including "In Your Own Sweet Way" and "The Duke". Brubeck's style ranged from refined to bombastic, reflecting his mother's attempts at classicaltraining 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 saxophone melody for 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 one of the top-selling jazz albums, Time Out.[2] Brubeck experimented with time signatures throughout his career, recording "Pick Up Sticks" in 6/4, "Unsquare Dance" in 7/4, "World's Fair" in 13/4, and "Blue Rondo à la Turk" in 9/8. He was 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[hide] |
[edit]Early life and career
Brubeck was born in the San Francisco Bay Area city of Concord, California,[1] and grew up in Ione. His father, Peter Howard "Pete" Brubeck, was acattle 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] His father had Swiss ancestry (the family surname was originally "Brodbeck"), while his maternal grandparents wereEnglish and German, respectively.[5][6][7] 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 music during these early lessons, attributing this difficulty to poor eyesight, but "faked" his way through, well enough that this deficiency went mostly unnoticed.[8]
Intending to work with his father on their ranch, Brubeck entered the College of the Pacific in Stockton, California (now the University of the Pacific), studying veterinary science. He changed to music 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."[9] 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 harmonymore than compensated. The college was still afraid that it would cause a scandal, and agreed to let Brubeck graduate only after he had promised never to teach piano.[10]
After graduating in 1942, Brubeck was drafted into the U.S. Army. He served in Europe in the Third Army. He volunteered to play piano at a Red Cross show and was such a hit that he was spared from combat service and ordered to form a band. He created one of the U.S. armed forces' first racially integrated bands, "The Wolfpack".[10] While serving in the military, Brubeck metPaul Desmond in early 1944.[11] He returned to college after serving nearly four years in the army, this time attending Mills College in Oakland. He studied 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 the UCLA in an attempt to connect with High Modernismtheory and practice.[12] 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 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 own insistence.[citation needed]
Jack Sheedy owned San Francisco-based Coronet Records, which had previously recorded area Dixieland bands. (This Coronet Records should not be confused with either the late 1950s New York-based budget label, nor with Australia-based Coronet Records.) In 1949, Sheedy was talked into making the first recording of Brubeck's octet and later his trio. But Sheedy was unable to pay his bills and in 1949 turned his masters over to his record stamping company, the Circle Record Company, owned by Max and Sol Weiss. The Weiss brothers soon changed the name of their business to Fantasy Records.
These initial Brubeck records sold well, and he recorded and issued new records for Fantasy. Soon the company was shipping 40,000 to 50,000 copies of Brubeck records each quarter, making enormous profits.[13]
[edit]Dave Brubeck Quartet
| The Dave Brubeck Quartet | |
|---|---|
 The Dave Brubeck Quartet in 1967 | |
| Background information | |
| Origin | San Francisco, California, United States |
| Genres | Jazz |
| Years active | 1951–2012 |
| Website | davebrubeck.com |
| Past members | |
| Dave Brubeck Paul Desmond Bob Bates Joe Dodge Ron Crotty Lloyd Davis Joe Morello Norman Bates Eugene Wright Gerry Mulligan Jack Six Alan Dawson Darius Brubeck Chris Brubeck Dan Brubeck Bobby Militello Michael Moore Randy Jones | |
Following a near-fatal swimming accident which incapacitated him for several months, Brubeck organized the Dave Brubeck Quartet in 1951, with Paul Desmond on alto 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 the College of the Pacific (1953), and Brubeck's debut on Columbia Records, Jazz Goes to College (1954).
When Brubeck signed with Fantasy Records, he thought he had a half interest in the company and he worked as a sort of A & R man for the label, encouraging the Weiss brothers to sign other contemporary jazz performers, including Gerry Mulligan, Chet Baker and Red Norvo. When he discovered that all he owned was a half interest in his own recording, he was more than willing to sign with another label, Columbia Records.[14]
In 1951, Brubeck damaged his spinal cord and several vertebrae, while diving in the surf in Hawaii. He would later remark that the paramedics who attended had described him as a "DOA" (dead on arrival). Brubeck recovered after a few months, but suffered with residual nerve pain in his hands for years after.[15]
In 1954, he was featured on the cover of Time, the second jazz musician to be so honored (the first was Louis Armstrong on February 21, 1949).[16] Brubeck personally found this accolade embarrassing, since he considered Duke Ellington more deserving of it and was convinced that he had been favored for being Caucasian.[17]
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 drummer Joe Morello, who had been working with Marian McPartland; Morello's presence made possible the rhythmic experiments that were to come. In 1958 African-American bassist Eugene Wright joined for the group's U.S. Department of State tour of Europe and Asia. Wright became a permanent member in 1959, making the "classic" Quartet's personnel complete. During the late 1950s and early 1960s Brubeck canceled several concerts because the club owners or hall managers continued to resist 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.[18]
In 1959, the Dave Brubeck Quartet recorded Time Out, an album about which the record label was enthusiastic but which they were nonetheless hesitant to release. Featuring the album art ofS. 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 Department of State sponsored tour.[19] 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. It was the first jazz album to sell more than a million copies.[20]
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; Time Changes (1963), with much 3/4, 10/4 (which was really 5+5), and 13/4; and Time In (1966).
These albums (except the last) 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, andSam 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 1960s, 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 Department of State. The soundtrack album, which featured Louis Armstrong, Lambert, Hendricks & Ross, and Carmen McRae was recorded in 1961; the musical was performed at the 1962 Monterey Jazz Festival.
At its peak in the early 1960s, 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, with the film featuring close-ups of his piano 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 the songs of Cole Porter. A few concert recordings followed, and The Last Time We Saw Paris (1967) was the "Classic" Quartet's swan-song.
- Members
| Years | Lineup |
|---|---|
| 1951–1956 |
|
| 1953 (Jazz at Oberlin) |
|
| 1956–1958 |
|
| 1958–1968 (Classic quartet) |
|
| 1968–1972 ("The Dave Brubeck Trio & Gerry Mulligan") |
|
| 1972–1976 ("The Darius Brubeck Ensemble") |
|
| 1976-1977 (Classic quartet reunion – 25th anniversary) |
|
| 1977–Early 2000s |
|
| Early 2000s–2012 |
|
[edit]Later career
.jpg)
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).[citation needed] 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.[citation needed] The next year, Brubeck produced The Gates of Justice, a cantata mixing Biblical scripture with the words of Dr. Martin Luther King, Jr. His "Take Five" was used on the soundtrack of the 1973 Ralph Bakshi adult cartoon movieHeavy Traffic. He also composed for – and performed with his ensemble on – "The NASA Space Station," a 1988 episode of the CBS TV series This Is America, Charlie Brown.[21]
[edit]Personal life
Dave Brubeck married Iola Whitlock in September 1942, she survived him.[22]
Five of Brubeck's six children have been professional musicians. Darius, the eldest, is a pianist, producer, educator and performer. (He was named after Dave Brubeck's mentor Darius Milhaud.[23]) Dan is a percussionist, Chris is a multi-instrumentalist and composer. Matthew, the youngest, is a cellist with an extensive list of composing and performance credits. Another son, Michael, who died in 2009, was a saxophonist.[24][15] Brubeck's children often joined him in concerts and in the recording studio.
Brubeck believed that what he saw during his time as a soldier in World War II contradicted the Ten Commandments, and the war evoked a spiritual awakening.[citation needed] He became aCatholic 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."[25] 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[26] 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 on which the school resides named in his honor, Dave Brubeck Way. [27]
[edit]Recognition
Brubeck recorded five of the seven tracks of his album Jazz Goes to College in Ann Arbor. He returned to Michigan many times, including a performance at Hill Auditorium where he received a Distinguished Artist Award from the University of Michigan's Musical Society in 2006.
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.[28] "As a little girl I grew up on the sounds of Dave Brubeck because my dad was your biggest fan," said Rice.[29] 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."[28] At the ceremony Brubeck played a brief recital for the audience at the State Department.[28] "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.[28]
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 famous Californians.[30]
In 2008 Brubeck became a supporter of the Jazz Foundation of America in its mission to save the homes and the lives of elderly jazz and blues musicians, including those who had survivedHurricane Katrina.[31] Brubeck supported the Jazz Foundation by performing in its annual benefit concert "A Great Night in Harlem".[32] On October 18, 2008, Brubeck received an honorary Doctor of Music degree from the prestigious Eastman School of Music in Rochester, NY.
In September 2009, the Kennedy Center for the Performing Arts announced Brubeck as a Kennedy Center Honoree for exhibiting excellence in performance arts.[33] 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. When the award was made, President Barack Obama recalled a 1971 concert Brubeck had given in Honolulu and said, "You can’t understand America without understanding jazz, and you can’t understand jazz without understanding Dave Brubeck."[15]
On September 20, 2009, at the Monterey Jazz Festival, Brubeck was awarded an honorary Doctor of Music degree (D.Mus. honoris causa) from Berklee College of Music.[34]
On May 16, 2010, Brubeck was awarded an honorary Doctor of Music degree (honoris causa) from The George Washington University in Washington, D.C. The ceremony took place on the National Mall.[35]
On July 5, 2010, Brubeck was awarded the Miles Davis Award at the Montreal International Jazz Festival.[36] In 2010, Bruce Ricker and Clint Eastwood produced Dave Brubeck: In His Own Sweet Way, a documentary about Brubeck for Turner Classic Movies (TCM) to commemorate his 90th birthday in December 2010.[37]
[edit]Death and tributes
Brubeck died of heart failure on December 5, 2012, in Norwalk, Connecticut, one day before his 92nd birthday. He was on his way to a cardiology appointment, accompanied by his son Darius.[38] A birthday party had been planned for him with family and famous guests.[39] It was recast as a memorial tribute.[40]
The Los Angeles Times noted that he "was one of Jazz's first pop stars," even though he was not always happy with his fame, uncomfortable, for example, that Time Magazine had featured him on the cover before it did so for Duke Ellington, saying, "It just bothered me". [41] The New York Times noted he had continued to play well into his old age, performing in 2011 and in 2010 only a month after getting a pacemaker, with Times music writer Nate Chinen commenting that Brubeck had replaced "the old hammer-and-anvil attack with something almost airy" and that his playing at the Blue Note Jazz Club in New York City was "the picture of judicious clarity".[24]
In The Daily Telegraph, music journalist Ivan Hewett wrote: "Brubeck didn’t have the réclame of some jazz musicians who lead tragic lives. He didn’t do drugs or drink. What he had was endless curiosity combined with stubbornness", adding "His work list is astonishing, including oratorios, musicals and concertos, as well as hundreds of jazz compositions. This quiet man of jazz was truly a marvel."[42] In The Guardian, John Fordham said "Brubeck's real achievement was to blend European compositional ideas, very demanding rhythmic structures, jazz song-forms and improvisation in expressive and accessible ways. His son Chris told the Guardian "when I hear Chorale, it reminds me of the very best Aaron Copland, something like Appalachian Spring. There's a sort of American honesty to it."[43] Robert Christgau dubbed Brubeck the "jazz hero of the rock and roll generation".[44]
[edit]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);
- Doctor of Sacred Theology, Doctorate honoris causa, University of Fribourg, Switzerland (2004); [45]
- Laetare Medal (University of Notre Dame) (2006);
- BBC Jazz Lifetime Achievement Award (2007);
- Benjamin Franklin Award for Public Diplomacy (2008);[28]
- Inducted into California Hall of Fame (2008);
- Eastman School of Music Honorary Degree (2008);[46]
- Kennedy Center Honor (2009);[47]
- George Washington University Honorary Degree (2010);[48]
- Honorary Fellow of Westminster Choir College, Princeton, New Jersey (2011).
Discography
- Dave Brubeck - Jazz At College Of The Pacific, Vol. 2 (c. 1942), Original Jazz Classics: OJCCD 1076-2[49]
- Brubeck Trio with Cal Tjader, Volume 1 (1949)
- Brubeck Trio with Cal Tjader, Volume 2 (1949)
- Brubeck/Desmond (1951)
- Stardust (1951)
- Dave Brubeck Quartet (1952)
- 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)
- Brandenburg Gate: Revisited (1963) Columbia Records
- At Carnegie Hall (1963)
- Time Changes (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, Tennessee 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 Columbia Legacy
- Trio Brubeck (1993)
- Late Night Brubeck (1994)
- Just You, Just Me (solo) (1994)
- Nightshift (1995)
- Young Lions & Old Tigers (1995) Telarc
- 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)
- Their Last Time Out (DBQ recorded Live, 12/26/67) (2011)
No comments:
Post a Comment