Five-Star Collection... Dave Brubeck

The Dave Brubeck Quartet

Gone With The Wind

A good deal has been said in print about the merits of the Dave Brubeck Quartet, what it stands for in relation to jazz, what it has contributed to the facade of jazz, etc., and as you listen to the easy flow of melodic lines and the development of each standard composition in this recording, you will know that this is the Quartet at its best. We feel that the music speaks for itself, and that no words need be said here by way of explanation.

From the very first take, we all knew that this was going to be a swinging session, and it was. I believe it is significant that three-fourths of the compositions contained herein are "first-takers", if I may coin a word. On listening to the first play-back by Dave and the group, the comment would almost invariably be: "That's it! Let's make the next one". This happened throughout the entire session in the studio, until it was time to leave for Dave's evening concert at Orange Grove College in Costa Mesa, California, where we also recorded.

Some of the compositions that were used as a basis for improvisation here were played by the group for the first time at the recording studio, and in several cases the arrangements you hear were not previously planned, but worked out spontaneously while recording.

*Teo Macero (from the liner notes)*

The Dave Brubeck Quartet is swinging these days. This is common knowledge. Here is an album that has captured this particular aspect of the group very well. There are interesting solos passages, in particular a delightful percussion excursion by Joe Morello on "Short'nin' Bread" and a fine long bass solo by Gene Wright on "Ol' Man River". Paul Desmond plays throughout with his usual melodic intensity, shimmering tone and long, swooping lines. There's more solid jazz content in this LP than is usually granted Brubeck, yet it is still the middle-of-the-road modern jazz that has the strongest appeal to the layman. As an introduction to Brubeck's work and as a fair sampling of him in his swinging, or recent period, this LP ranks high.

*Ralph J. Gleason (HiFi Stereo Review, November, 1959)*

It has often been noted that since the addition of Morello and Wright, the Brubeck group has swung more; this LP is the best example so far of this freedom and swing. In this collection of southern songs, the quartet achieves a looseness and rapport of greater degree than their previous albums. And how these men listen to each other!

A few words about Brubeck's playing might be in order at this point. Dave has been severely criticized in the past for his heavy handedness, but little has been said about the man's harmonic concept, his remarkable sense of time, and his ability to construct solos with a beginning, middle, and end. Some of these heaviness remains, but it is overshadowed now by these positive qualities. All of these facets of the Brubeck talent are very much in evidence in this album, especially on "The Lonesome Road" and "Georgia On My Mind".

Desmond is his usual eloquent self, displaying a virility in some of his work that has been lacking sometimes in the past. Wright provides solid support throughout and does a good job on River, his featured spot. Morello cooks all the way, using brushes most of the time. His wit and humor shine throughout the LP, but they shine the brightest on Bread in which he plays "melody".

This is a happy, swingin' LP lacking in pretentiousness and played by a group of men who obviously enjoy their work and each other. *Don DeMichael (Down Beat, October 1, 1959 [5 stars])*

Side 1

1 - Swanee River

(Stephen Foster)

2 - The Lonesome Road

(Gene Austin, Nat Shilkret)

3 - Georgia On My Mind

(Stuart Gorrell, Hoagy Carmichael)

4 - Camptown Races

(Stephen Foster)

Side 2

5 - Camptown Races

(Stephen Foster)

6 - Short'nin' Bread

(Traditional)

7 - Basin Street Blues

(Spencer Williams)

8 - Ol' Man River

(Jerome Kern, Oscar Hammerstein II)

9 - Gone With The Wind

(Hebert Magidson, Allie Wrubel)

Dave Brubeck (piano), Paul Desmond (ato sax), Gene Wright (bass), Joe Morello (drums). 

Recorded in Los Angeles, California, April 22 (#1, #2, #3, #7, #9) and 23 (#4, #5, #6, #8), 1959