 Исполнитель: Dave Brubeck Quartet Название альбома: Live At The Kurhaus 1967 (The Lost Recordings) Год выпуска: 2017 Формат файлов: MP3@320K/s Размер архива: 161,8 MB Скачать с: depositfiles
2 La Paloma Azul [6:34]
3 Cielito Lindo [4:30]
4 Swanee River [8:05]
5 Forty Days [7:03]
6 Blues For Joe [16:58]
7 Rude Old Man [7:36]
8 Take Five [5:19]
9 Someday My Prince Will Come [5:31]
Piano – Dave Brubeck
Alto Sax– Paul Desmond
Bass – Eugene Wright
Drums – Joe Morello
Recorded at the Kurhaus, Scheveningen, The Hague, Netherlands,
October, 24, 1967
℗ & © 2017 FONDAMENTA
That evening of October 1967 in Scheveningen, The Dave Brubeck Quartet was not a band playing jazz. They were the worthy ambassadors of American music in Europe. One of the very last fantastic concerts of this legendary jazz quartet, for the first time released to the public.
24 October 1967. 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 Brubeck had hired Paul Desmond in 1951, somewhat against his better judgement. Paul, a notorious womanizer, edged his way into the group by first babysitting for Dave’s oh-so-bourgeois family. It took two months of begging before Dave gave in to him. Eugene Wright (Gene) and Joe Morello arrived shortly afterwards. The Dave Brubeck Quartet was one of the rare, predominantly white, West Coast bands – only one member, sunny Eugene Wright, nicknamed “The Senator”, was Afro-American.
That evening, at the Kurhaus in Scheveningen – Paul probably drinking his fourth whiskey and smoking his 40th cigarette, and Dave his usual abstemious self – they opened with Three to Get Ready, demonstrating, from the outset, their tight group sound. Dave set the tone of the ballad and Joe, the rhythm; Paul established a sultriness that transported the audience to another 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, a privilege to hear it here. After this tender interlude came gaiety, hammered by Dave’s disruptive play in Cielito Lindo, and a light- hearted nod with Swanee River. Forty Days, a Hollywood- like oratorio, and then the themes of the great movies – Exodus, Alamo and perhaps others in the background.
The walls between cultures came crashing down.
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