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(Cool Jazz, Mainstream Jazz) [CD] The Dave Brubeck Quartet (Paul Desmond, Eugene Wright, Joe Morello) - Live At The Kurhaus 1967: The Lost Recordings - 2017, FLAC (tracks+.cue), lossless

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The Dave Brubeck Quartet (Paul Desmond, Eugene Wright, Joe Morello)
Live At The Kurhaus 1967: The Lost Recordings
Жанр: Cool Jazz, Mainstream Jazz
Носитель: CD
Страна-производитель диска (релиза): FR
Год издания: 2017
Издатель (лейбл): Fondamenta
Номер по каталогу: FON-1704025
Страна исполнителя (группы): US
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 01:07:15
Источник (релизер): Zooloo @ apollo.rip
Наличие сканов в содержимом раздачи: pdf, front+back
Треклист:
1. Three To Get Ready (05:39)
2. La Paloma Azul (06:34)
3. Cielito Lindo (04:30)
4. Swanee River (08:05)
5. Forty Days (07:03)
6. Blues For Joe (16:58)
7. Rude Old Man (07:36)
8. Take Five (05:19)
9. Someday My Prince Will Come (05:31)

Код:

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The Dave Brubeck Quartet / Live At The Kurhaus 1967: The Lost Recordings
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Код:

TITLE "Live At The Kurhaus 1967: The Lost Recordings"
PERFORMER "The Dave Brubeck Quartet"
CATALOG 0889854439026
REM GENRE "Jazz"
REM DATE "2017"
REM DISCNUMBER 1
REM TOTALDISCS 1
REM DISCID 6C0FC309
REM REPLAYGAIN_ALBUM_GAIN 0.66 dB
REM REPLAYGAIN_ALBUM_PEAK 0.981934
FILE "01 - Three To Get Ready.flac" WAVE
  TRACK 01 AUDIO
    TITLE "Three To Get Ready"
    ISRC FR4Y21725001
    REM REPLAYGAIN_TRACK_GAIN 0.42 dB
    REM REPLAYGAIN_TRACK_PEAK 0.852631
    INDEX 01 00:00:00
FILE "02 - La Paloma Azul.flac" WAVE
  TRACK 02 AUDIO
    TITLE "La Paloma Azul"
    SONGWRITER "Traditional"
    ISRC FR4Y21725002
    REM REPLAYGAIN_TRACK_GAIN 5.70 dB
    REM REPLAYGAIN_TRACK_PEAK 0.414093
    INDEX 01 00:00:00
FILE "03 - Cielito Lindo.flac" WAVE
  TRACK 03 AUDIO
    TITLE "Cielito Lindo"
    SONGWRITER "Quirino Mendoza y Cortés"
    ISRC FR4Y21725003
    REM REPLAYGAIN_TRACK_GAIN -0.53 dB
    REM REPLAYGAIN_TRACK_PEAK 0.981934
    INDEX 01 00:00:00
FILE "04 - Swanee River.flac" WAVE
  TRACK 04 AUDIO
    TITLE "Swanee River"
    ISRC FR4Y21725004
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    REM REPLAYGAIN_TRACK_PEAK 0.933960
    INDEX 01 00:00:00
FILE "05 - Forty Days.flac" WAVE
  TRACK 05 AUDIO
    TITLE "Forty Days"
    SONGWRITER "Ronnie Hawkins"
    ISRC FR4Y21725005
    REM REPLAYGAIN_TRACK_GAIN 0.36 dB
    REM REPLAYGAIN_TRACK_PEAK 0.770050
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FILE "06 - Blues For Joe.flac" WAVE
  TRACK 06 AUDIO
    TITLE "Blues For Joe"
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    REM REPLAYGAIN_TRACK_PEAK 0.953064
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    TITLE "Rude Old Man"
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    REM REPLAYGAIN_TRACK_PEAK 0.780579
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FILE "08 - Take Five.flac" WAVE
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    TITLE "Take Five"
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FILE "09 - Someday My Prince Will Come.flac" WAVE
  TRACK 09 AUDIO
    TITLE "Someday My Prince Will Come"
    SONGWRITER "Frank Churchill"
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Доп. информация: Recorded at the Kurhaus, Scheveningen, NL, October, 24, 1967

Undoubtedly one of the most famous bands in the history of
jazz, the Dave Brubeck Quartet, hugely popular throughout
the 1960s, reaching levels of esteem rarely attained, has always
been the subject of much controversy. Issues of all kinds,
often contradictory, have been raised, opposing enlightened
amateurs and newcomers to the genre, traditionalists and
modernists, proponents of a cool, elegantly aloof type of jazz
with fans of freer, more expressionistic music. The quartet was
firmly connected with the aesthetic and political upheavals of
the time. The ideological tensions at the heart of this war of
taste have now subsided, but the band, even 50 years after
its break-up, continues to enjoy a paradoxical reputation. The
Quartet is both emblematic of the ecumenism of a so-called
Golden Age of jazz and an exception which, when all is said
and done, cannot be considered as fully belonging to any of
the main aesthetic trends of their time; nor can the group
legitimately take any pride, today, in having left any true
legacy.
The Dave Brubeck Quartet was decidedly atypical in their position at the frontiers of
genres and styles. Not for a moment, however, did they give the impression of being
marginal or transgressive in any way. Concealing the boldness of their forms behind
the accessibility of their melodies and an ever-present sense of swing, they regularly
shook ofF the canons of classic jazz without being aggressively modern or showy. In
other words, their music was both veritably wide reaching and genuinely experimental.
Ultimately the Dave Brubeck Quartet defined, on their own and for themselves only,
what could be termed an alternative mainstream trend, an unlikely cocktail of easy
listening and formalist complexities. Our post-modernism, desperately seeking hybrid,
syncretic objects, would do well to rediscover it and reclaim it.
Pianist Dave Brubeck and alto saxophonist Paul Desmond had been playing
together since 1946 in an experimental octet that incorporated elements of jazz into
contemporary classical compositions, with previously unheard links between the two
genres. Brubeck had just completed a course with French composer Darius Milhaud,
who taught at Mills College, Oakland. In 1951, Brubeck and Desmond hit on the
idea of founding a quartet as classical as it could be in terms of both formation and
instruments. The contrast between their personalities and their styles was an immediate
hit: Desmond's ethereal sophisticated sound, the dream-like fluidity of his phrasing
filled with abstract arabesques, his detached elegance, all lightened up Brubeck's pianist
rigor and roughness, the piano improvisations that he liked to stud with well-framed
digressions hammered out in granite-like block chords and modernist harmonies.
The musicians in the rhythmic section changed constantly until drummer Joe Morello
joined up in 1956, followed by bass player Eugene (Gene) Wright in 1958. Now
driven by this ideal pair, the Quartet rapidly earned renown thanks to their popularity
with American students. They undertook a long tour of college campuses across the
country and made numerous recordings, first for Fantasy, and then, starting in 1954,
for Columbia. Their repertoire combined a choice of standards, polished original
compositions Uazz Goes to College, 1954), film music CDave Digs Disney, 1957) and
traditional popular tunes that immediately won listeners over (Gone with the Wind,
1959). The band gradually expanded their range of sources, all the while consolidating
the keystone of their singular universe, reassuring in its unambiguous allusions to jazz
in terms of both their instrumentarium and swing as well as in their improvisation.
They continued to be decidedly progressive, with an open-armed approach to unusual
time signatures and rhythms, from classical western music to manifold influences
from African and Eastern music. In 1959, the worldwide success of the Time Out
album, assimilating highly sophisticated and innovative time signatures into their jazz,
consolidated the exceptional popularity of a band that had already become a legend.
Triumphant world tours, unfailingly successful albums - the quartet sailed effortlessly
through the 1960s, despite the numerous musical revolutions of the decade. Late
in 1967, however, Brubeck and Desmond to decided to call an end to their musical
partnership after a final European tour. And it was at that particular time in the band's
history that this concert - recorded but never released - took place on 24 October
1967 in the historical setting of the prestigious Kurhaus Hotel in Scheveningen, a seaside
resort on the North Sea in the Netherlands. Among the countless live recordings that
illustrate the history of the band, only one, until now, The Last Time We Saw Paris, made
in the French capital on 13 November of the same year, gives a glimpse of their final
performances. The Dutch concert, recorded only a few weeks earlier, is a invaluable
foil to the Parisian show. The band's essential big hits all feature here (Brubeck's 'Three
to Get Ready' and Desmond's Take Five' from the Time Out album, and Brubeck's
'Forty Days' from the Time In album) as well as more naTve, charming folk songs like the
famous one composed by Stephen Foster in 1851, 'Swanee River', so evocative of the
South, extracts from one of the Quartet's albums, Bravo Brubeck, brought out a few
months earlier by Columbia, and two sentimental yet fresh South American songs, 'La
Paloma Azul' and 'Cielito Undo'. The Quartet gives a performance that is full of vigour.
There is not an iota of lassitude, not a hint of monotony to indicate that the group would
soon split.
In versions of the songs that are often intense and condensed, the quartet displays
the quintessence of its genius, playing more than ever on rich contrasts between the
intertwining evolutions and force of the rhythm section, tighter than ever, the abrupt
and atonal piano that combined sentimentality and abstraction, and the dreamlike,
lyrical flights of Desmond's alto saxophone, ever more elliptic and sensual.
Until the very last moments of their existence, the Dave Brubeck Quartet met the
objectives they had set themselves, playing with generosity and talent. They won over
their public with their ingenious synthesis that was never expedient, never compromised,
never lapsed into mediocrity. These tracks, miraculously saved from oblivion, are now
here to bear witness.
STEPHANE OLLIVIER

https://www.devialet.com/en-eu/the-lost-recordings-vinyl-dave-brubeck-quartet.html
October 24 1967. The Dave Brubeck Quartet, starring more or less the same line-up since starting out, had now been together for 16 years. By this stage, they were more than well acquainted. That evening, live from the Kurhaus in Scheveningen – Paul probably downing his fourth whiskey and smoking his 40th cigarette, Dave his usual abstemious self – they opened with Three to Get Ready, establishing their close-knit dynamic in a matter of bars. Dave set the tone for the ballad while Joe held the rhythm; Paul built a sultriness that drove the audience into a whole new dimension.
There is certainly magic in this live performance – just hear the laughter, the interjections, the very life of it. With "La Paloma Azul", a children’s song that Paul and Dave had brought back from Mexico only a few months earlier, the mood changed: gentle, clear and caressing. It is one of their early performances of this piece, and a privilege to hear. After this tender interlude came unabashed laughter, hammered out by Dave’s disruptive fingerwork in "Cielito Lindo", and a light-hearted nod with "Swanee River". "Forty Days", a Hollywood-worthy oratorio, featured biblical references and themes from the great blockbusters – Exodus, Alamo and maybe even a few others. That night, the Dave Brubeck Quartet brought the walls between cultures crashing down.
http://www.fondamenta.fr/releases/281?locale=en
During one of their last concerts in 1967 which remained unreleased until then, the Dave Brubeck Quartet, comprising more or less the same members since its inception, had already been playing for 16 years. Naturally, they were more than well acquainted. Dave and Paul made their debut at the Black Hawk Night Club in San Francisco. Their hallmark: relentless combatting racial barriers, even in the darkest periods of McCarthyism, and making jazz accessible to the widest possible public by revisiting ballads, old favourites and well-known classical themes. But above all, they developed an almost endless variety of complex time signatures.
That evening of 24 October 1967 in Scheveningen, the Dave Brubeck Quartet was not a band playing jazz. They were the worthy ambassadors of American music in Europe.

Dave Brubeck: piano;
Paul Desmond: alto saxophone;
Eugene Wright: bass;
Joe Morello: drums

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