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Oscar Emmanuel Peterson, ou comme on l’appelait souvent, “Le roi du swing intérieur”, était l’un des artistes de musique jazz les plus influents et les plus réussis du XXe siècle. Capable de créer des mélodies divines et harmonieuses, ce pianiste et compositeur de jazz avait de la magie dans sa musique.
Avec ses mélodies apaisantes et harmonieuses, il a conquis le cœur de millions de personnes en créant une musique qui transcende les frontières culturelles et fait vivre aux gens un pur bonheur. Sa musique reflétait des émotions et des messages puissants, qui visaient à répandre la positivité, l’espoir et à connecter les gens avec ses merveilleuses créations musicales.
Considéré comme l’un des plus grands pianistes de jazz, il a eu une carrière impressionnante qui a duré plus de six décennies. Influençant et impactant le genre musical jazz, Oscar Peterson a donné au monde quelques-uns des meilleurs jazzmen jamais connus.
Les premières années d’Oscar Peterson
Né et éduqué à Montréal, au Québec, il a été élevé par sa famille composée d’immigrants des Antilles. Son père travaillait comme bagagiste pour les Chemins de fer du Canadien Pacifique. Ayant grandi dans le quartier de la Petite-Bourgogne à Montréal, la musique jazz et sa culture avaient pris racine profondément chez Oscar depuis le tout début.
À l’âge de cinq ans, Oscar avait perfectionné et perfectionné ses compétences à la trompette et au piano, mais en raison d’un épisode de tuberculose à l’âge de sept ans, il n’était plus capable de jouer de la trompette et a donc concentré toutes ses énergies sur le jeu de la trompette et le piano.
Ses premiers professeurs de musique comprenaient son père, qui était un trompettiste et pianiste amateur, et sa sœur, qui lui a appris le piano classique.
Au cours de ses premières années, Oscar a étudié avec le pianiste d’origine hongroise Paul de Marky, qui était un élève d’Istvan Thoman, et donc son apprentissage initial du piano était plus axé sur le côté classique. Mais bientôt son attention fut attirée par le jazz traditionnel et le boogie-woogie, ce qui l’inspira à apprendre diverses pièces de ragtime. Et peu de temps après, à l’âge de neuf ans, Oscar Peterson avait perfectionné son art et pouvait jouer du piano avec grâce et élégance, impressionnant même les musiciens professionnels.
Dans les années suivantes, il étudie et apprend le piano et pratique quatre à six heures par jour. Il était vraiment passionné et dédié à la musique de tout son cœur. En 1940, alors qu’Oscar avait quatorze ans, il remporte le concours national de musique organisé par la Société Radio-Canada.
Avec une oreille fine pour la musique, Oscar a décidé de devenir musicien professionnel. Et peu de temps après, il abandonna l’école, où il jouait également dans un groupe avec Maynard Ferguson. Après avoir quitté l’école, Oscar est devenu pianiste professionnel et a joué dans une émission de radio hebdomadaire, et en même temps, il jouait dans des auditoriums et des hôtels. Pendant son adolescence, il a par ailleurs été membre du Johnny Holmes Orchestra.
Mais au fur et à mesure que sa carrière musicale progressait, il commença à se concentrer sur le boogie-woogie et le swing, inspiré par des artistes comme Nat King Cole et Teddy Wilson. De 1945 à 1949, Oscar travaille en trio et enregistre pour Victoria Records. Et au moment où il avait atteint la vingtaine, Oscar s’était créé une image impressionnante en raison de ses incroyables talents musicaux, et était souvent considéré comme un pianiste techniquement brillant et mélodiquement inventif.
La carrière musicale d’Oscar Peterson
La manière dont Oscar a rencontré Norman Granz n’était rien de moins qu’une scène de film. Sur le chemin de l’aéroport, Norman Granz a entendu la radio qui diffusait depuis un club local et a été hypnotisé par l’étonnante musique de piano jazz qu’il a entendue.
Il a ensuite dit au chauffeur de taxi de l’emmener dans ce club particulier afin qu’il puisse rencontrer le talentueux pianiste de jazz. Et c’est là qu’il a rencontré Oscar Peterson.
Plus tard, il a également présenté Oscar à New York lors d’un concert ‘Jazz at the Philharmonic’. Norman fut le manager d’Oscar pendant la majeure partie de sa carrière musicale. En 1950, Oscar a travaillé en duo avec le contrebassiste Ray Brown, puis a ajouté le guitariste Barney Kessel.
Peu de temps après, Herb Ellis a remplacé Barney Kessel et le trio était ensemble de 1953 à 1958, souvent en tournée avec ‘Jazz at the Philharmonic’. Ce trio était considéré comme la collaboration la plus sensationnelle et la plus stimulante, que ce soit lors de représentations publiques ou d’enregistrements en studio.
Peu de temps après, Oscar a formé un trio avec le guitariste Joe Pass et le bassiste Niels-Henning Orsted-Pedersen, et a enregistré leur album légendaire ‘The Trio’ qui a remporté le Grammy Award 1974 pour la meilleure performance de musique jazz par un groupe. Le trio a ensuite créé certaines des musiques de jazz et de piano jazz les plus agréables et apaisants jamais créées. Et en 1974, Oscar a ajouté le batteur britannique Martin Drew à son groupe. Leur quatuor a été une collaboration fructueuse et a fait de nombreuses tournées et enregistrés dans le monde entier.
Plus tard, Oscar Peterson a également sorti ses enregistrements pour piano solo, qui présentaient son piano jazz solo, et a sorti une série d’albums intitulée ‘Exclusive for My Friends’. Oscar a enregistré plusieurs albums à succès avec divers musiciens tout au long de cette période jusqu’à ce qu’il ait un accident vasculaire cérébral. À la fin des années 1980 et 1990, après s’être remis d’un accident vasculaire cérébral, il se produit et enregistre avec son protégé Benny Green.
Au cours des années 1990 et 2000, il a enregistré plusieurs albums magnifiques et a offert au monde de la musique jazz de remarquables créations pour piano solo.
Inspirations et influences
La musique avait inspiré et attiré Oscar dès son plus jeune âge. Lorsque son père a joué un disque de ‘Tiger Rag’ d’Art Tatum, il a été fasciné et impressionné par la musique mélodieuse. Il a été influencé par des artistes légendaires comme Teddy Wilson, James P. Johnson, Nat King Cole et Art Tatum.
Il remercie également sa sœur de lui avoir enseigné le piano comme aucun autre professeur, et comment elle a enseigné et influencé sa carrière musicale. Sous la direction de sa sœur, Oscar Peterson a maîtrisé le cœur de la musique classique pour piano et a tout appris, des gammes aux préludes et fugues.
La santé et les dernières années d’Oscar
Alors qu’Oscar Peterson était un musicien incroyable et étonnant, il souffrait d’arthrite depuis sa jeunesse. Et plus tard, victime d’un accident vasculaire cérébral en 1993, celui-ci affaiblit son côté gauche et l’éloigne de la musique et du piano pendant près de deux ans.
Bien qu’Oscar ait récupéré et amélioré son côté gauche après l’AVC, son jeu de piano et sa capacité à jouer au maximum ont diminué. Il a ensuite ajusté son jeu et sa musique reposait principalement sur sa main droite. Plus tard, en 2007, la santé d’Oscar a commencé à se détériorer et le 23 décembre 2007, il est décédé à son domicile de Mississauga, en Ontario, en raison d’une insuffisance rénale.
La légende du piano jazz et son parcours remarquable
La musique est un langage qui ne parle pas avec des mots, il parle avec des émotions. Et le jazz est l’un de ces styles de musique qui passe par les oreilles et mène droit au cœur.
Oscar Peterson était l’un des musiciens de jazz les plus influents de notre époque et il a vraiment donné au monde du jazz des créations incroyables et stellaires. Souvent appelé « le Maharaja du clavier », il était un maître de son art et s’est produit lors de milliers de concerts dans le monde entier. Tout au long de son incroyable carrière musicale, Oscar Peterson a sorti plus de 200 enregistrements, a remporté huit prix Grammy, dont le ‘Grammy Lifetime Achievement Award’, et divers autres prix et distinctions comme le ‘International Lifetime Achievement Award’.
Considéré comme l’un des plus grands pianistes de jazz de tous les temps, Oscar Peterson est véritablement une légende. Écoutez la merveilleuse musique de piano jazz solo d’Oscar Peterson et de nombreux autres musiciens de jazz sur Calm Radio.
2021 marks the centennial of Astor Piazzolla, the Argentine composer-bandoneón master and inventor of nuevo tango, which transformed traditional tangos for the dance floor into concert works with jazz and classical music elements.
Piazzolla was certainly internationally known when he died in 1992, but his fame and popularity have skyrocketed since. “If he were alive right now, he would be very, very happy for that,” said Argentine pianist and composer Pablo Ziegler, who played and recorded for more than a decade in Piazzolla’s second and last bandoneón quintet.
The latest sign of Piazzolla’s soaring stature will come Nov. 18-21 when guest conductor Giancarlo Guerrero and the Chicago Symphony Orchestra mark the 100th anniversary of the composer’s birth with concerts featuring his Aconcagua Concerto for Bandoneón and Orchestra.
In addition, the Quinteto Astor Piazzolla, a group founded by his widow, Laura Escalada Piazzolla, will perform a special Symphony Center Presents concert on Nov. 19 as part of a world tour. The group, which received a 2019 Latin Grammy Award for best tango album, carries on the traditions established by Piazzolla’s first and second quintets.
Piazzolla composed his Concerto for Bandoneón and Orchestra in 1979 on a commission from the Banco de la Provincia de Buenos Aires, and he served as the soloist for the premiere in December of that year. His publisher added the moniker Aconcagua, the name of a mountain on the Argentina-Chile border, saying, “This is the peak of Astor’s oeuvre, and the highest peak in South American is Aconcagua.”
Piazzolla was born in Argentina to Italian-immigrant parents. Four years later, he moved with his family to New York City — first to Greenwich Village and then to Little Italy. He discovered tango by listening to some of his father’s records, and a friend soon taught him the rudiments of playing the bandoneón, a kind of concertina popular in Argentina and Uruguay.
When he was 12, he began taking lessons with Hungarian classical pianist Bela Wilda, who taught him, among other things, how to play Bach on the bandoneón. A student of Rachmaninov, Wilda happened to live next door, and Piazzolla was entranced by the sounds that emanated from his home. “My father and I knocked at his door, and when he opened it, I was bewildered by his grand piano and the pack of Camel cigarettes he used to smoke,” Piazzolla said in an extended interview on the website Todo Tango.
In 1938, when he was still just 17, Piazzolla joined the tango orchestra of Aníbal Troilo and later became an arranger for the group as well. During this stage of his career, he led kind of two musical lives, one devoted to tango and the other to mastering classical music. On the advice of famed pianist Artur Rubenstein, he began studying with composer Alberto Ginastera in 1941, delving into the scores of Stravinsky, Bartók and Ravel, and later took piano lessons with Argentine keyboardist Raúl Spivak.
In 1953, he won a grant to study composition with the celebrated French pedagogue Nadia Boulanger, who also taught composers ranging from Aaron Copland to Philip Glass. At that time, Piazzolla had largely rejected the tango, and he presented Boulanger with a number of his classically inspired compositions.
She was impressed with his technique but felt that the works did not have a personal stamp. He finally admitted that he played bandoneón and wrote tangos. So he performed for her a tango piece he had written a bit earlier, Triunfal. “And then she told me, ‘There is Piazzolla, never leave it!” he recalled in the Todo Tango interview.
When he returned to Argentina, he formed his Octeto Buenos Aires, inspired by the octet of jazz saxophonist Gerry Mulligan, which he had heard in Paris. It was with this ensemble — a radical break from the larger bands common in tango — that he began to write his groundbreaking music that became known as nuevo tango.
“When he started with the first Buenos Aires Octet, that music was like Bartók and Stravinsky,” Ziegler said. “Because of the huge rejection by the media and tango audience, he started to change and do something more acceptable, but he was really a contemporary composer.”
Piazzolla’s nuevo tango, which fuses Baroque counterpoint, extended chords and jazz swing, is at once earthy and elegant, seductive and transporting. It is instantly identifiable and cannot be confused with the music of anyone else.
In 1961, the composer formed his first quintet, with bandoneón, piano, violin, electric guitar and double bass, a combination that many experts believe is the most authentic and expressive vehicle for his music. He organized a second quintet in 1978 and called Ziegler to recruit him for the group.
For Ziegler, who was well-established on his own at that point as a composer and arranger, hearing from Piazzolla was a “big surprise.” The pianist asked the composer why he wanted him in the quintet, and Piazzolla told him that he was looking for someone who would bring strong improvisatory skills as well as a complementary and distinctive playing style.
“For me and for each musician, it was a big challenge,” Ziegler said, “because his music was really incredible but difficult.” He remembered a new work that Piazzolla presented him that looked almost unplayable at first, but with the composer’s encouragement and considerable study, he was able to pull it off.
Ziegler praised Piazzolla’s abilities on the bandoneón, especially his ability to shape the sound and nudge his fellow players in the direction he wanted to go. “He was like the Oscar Peterson [referring to the great jazz pianist] of the bandoneón — tremendous, tremendous,” Ziegler said.
In addition to performing with Piazzolla in the quintet, Ziegler also joined the composer in some of his larger orchestral works, including the premiere of his bandoneón concerto, which has a significant part for the piano.
According to Ziegler, Piazzolla’s approach to these concerts was simple: “We play the music, and the orchestra has to follow us.” But in fact, it is a bit more complicated. The pianist must emphasize the importance of articulations in Piazzolla’s music, especially in the strings, and tries to illustrate how they should be done.
Astor Piazzolla’s OBLIVION
Esta es una de las más hermosas obras que compuso el maestro Astor Piazzolla, esta obra la incluyen en el repertorio orquestas sinfónicas y de cuerdas de mucho prestigio. La compuso en los años 80 durante su tiempo en los EEUU, cuando Piazzolla vendia música para vivir, esta obra fue comprada para la banda sonora de la pelicula “Enrique IV” del director Marco Bellocchino de nacionalidad italaiana.
Esta es una canción que trata sobre el olvido. En francés se escribe J’oublie y en la lengua inglesa, como fue concebido, dado que Oblivion es (Olvido).
00:00– Symphonic Variation “Merry-go-round” 13:47 – The Wind Rises’- A Journey (Dream of Flight) – Nahoko (The Encounter) 17:27 – The Wind Rises’- Caproni (An Aeronautical Designers Dream) 21:50 – The Wind Rises’- A Journey (The Wedding) 25:39 – The Wind Rises’- Nahoko (I Miss You) – Castorp (The Magic Mountain)
29:31– The Wind Rises’- Nahoko (An Unexpected Meeting) 32:24 – The Wind Rises’- A Journey (A Kingdom Of Dreams) 36:23 – Kiki’s Delivery Service 41:10 – The Tale of the Princess Kaguya’ – Overture – Mystery of the Moon 42:51 – The Tale of the Princess Kaguya’ – The Joy of Living – The Coming of Spring 46:24 – The Tale of the Princess Kaguya’ – Despair 49:35 – The Tale of the Princess Kaguya’ – Flying 52:49 – The Tale of the Princess Kaguya’ – The Procession of Celestial Beings – The Parting – Moon
Ennio Morricone “The Legend” Download his complete sheet music from our Library.
Tracklist:
1 The Sicilian Clan (From “The Sicilian Clan”) 00:00 – 03:56 2 Cinema paradiso (From “Cinema paradiso”) 03:58 – 06:23 3 La califfa (From “The Lady Caliph”) 06:25 – 09:01 4 Romanzo (From “1900”) 09:03 – 13:08
5 Estasi (From “The Mercenary”) 13:10 – 15:12 6 Love Theme for Nata (From “Cinema paradiso”) 15:14 – 19:22 7 L’arena (From “The Mercenary”) 19:24 – 24:06 8 Romanza quartiere (From “Quartiere”) 24:08 – 27:46 9 Un amico (From “Revolver”) 27:48 – 30:23
10 Ninna nanna per adulteri (From “Cuore di mamma”) 30:25 – 33:27 11 The Trio (From “The Good, the Bad and the Ugly”) 33:29 – 40:41 12 Il pinguino (From “Vamos a matar, compañeros”) 40:43 – 43:40 13 Come Maddalena (From “Maddalena”) 43:42 – 52:52 14 The Strong (From “The Good, the Bad and the Ugly”) 52:54 – 55:16 15 My Fault? (From “My Name is Nobody”) 55:18 – 01:00:06
16 La messicana (From “Vamos a matar, compañeros”) 01:00:09 – 01:02:46 17 Face to Face – Interlude (From “Face to Face”) 01:02:48 – 01:05:28 18 Minacciosamente lontano (From “The Hellbenders”) 01:05:30 – 01:08:14 19 Il segreto (From “Il segreto”) 01:08:15 – 01:10:56 20 The Sundown (From “The Good, the Bad and the Ugly”) 01:10:58 – 01:12:10 21 Childhood and Manhood (From “Cinema paradiso”) 01:12:12 – 01:14:25 22 Tema di Ada (From “Novecento – 1900”) 01:14:27 – 01:19:16 23 Barbablu’… Romantico (From “Barbablu'”) 01:19:18 – 01:22:48 24 La cena (From “La califfa”) 01:22:50 – 01:25:31
25 Abolisson (From “Queimada”) 01:25:33 – 01:30:38 26 Notte di giorno (From “Una lucertola con la pelle di donna”) 01:30:40 – 01:35:25 27 Mosca addio (From “Mosca addio”) 01:35:27 – 01:40:17 28 In ogni casa una storia (From “Quartiere”) 01:40: 19 – 01:43:55 29 Amore come dolore (From “Le foto proibite di una signora per bene”) 01:43:57 – 01:50:05 30 Irene (From “The Untouchables”) 01:50:07 – 01:53:43
31 Il colore dei suoi occhi (From “La disubbidienza”) 01:53:45 – 01:58:14 32 Via Mala: Silvie momento d’amore (From “Via Mala”) 01:58:16 – 02:01:44 33 Love Scene 1 (From “Increase and Multiply”) 02:01:46 – 02:07:38 34 Una fotografia (From “L’alibi”) 02:07:40 – 02:10:12 35 Canzone senza parole (From “Farewell Moscow) 02:10:15 – 02:13:06
18th Variation by Rachmaninoff from Rhapsody on a theme by Paganini (piano solo arr.) – Katalin Zsubrits, piano. Sheet music download from our Library.
The Rhapsody on a Theme of Paganini, Op. 43, (Russian: Рапсодия на тему Паганини, Rapsodiya na temu Paganini) is a concertante work written by Sergei Rachmaninoff for piano and orchestra, closely resembling a piano concerto, all in a single movement. Rachmaninoff wrote the work at his summer home, the Villa Senar in Switzerland, according to the score, from 3 July to 18 August 1934.
Rachmaninoff himself, a noted interpreter of his own works, played the piano part at the piece’s premiere on 7 November 1934, at the Lyric Opera House in Baltimore, Maryland, with the Philadelphia Orchestra conducted by Leopold Stokowski. Rachmaninoff, Stokowski, and the Philadelphia Orchestra made the first recording, on 24 December 1934, at RCA Victor’s Trinity Church Studio in Camden, New Jersey.
After a brief introduction, the first variation is played before the theme. Paganini’s theme is stated on strings with the piano picking out salient notes, after the first variation. Rachmaninoff likely got the idea of having a variation before the theme from the finale of Beethoven’s Eroica symphony. Variations II to VI recombine elements of the theme. The pauses and rhetorical flourishes for the piano in variation VI herald a change of tempo and tone.
The piano next gravely intones the Dies Irae, the “day of wrath” plainchant from the medieval Mass of the Dead, while the orchestra accompanies with a slower version of the opening motif of the Paganini theme. The piece is one of several by Rachmaninoff to quote the Dies Irae plainchant melody.
The slow 18th variation is by far the best known, and it is often included on classical music compilations without the rest of the work. It is based on an inversion of the melody of Paganini’s theme. In other words, the A minor Paganini theme is literally played “upside down” in D♭ major, with a few other changes. Rachmaninoff himself recognized the appeal of this variation, saying “This one, is for my agent.”
The 18th variation, by far the most popular, has been used in various movie and TV show soundtracks to different degrees. This includes: The Story of Three Loves (1953) Somewhere in Time (1980 film) Singapore Sling (1990 film) Dead Again (1991) Groundhog Day (1993 film) Ronin (1998 film) The Byron James Story (2010 TV movie documentary) Nikolina and Tomislav (2013 short) Alive Inside: A Story of Music and Memory (2014 documentary) The Good Wife (2015) The pop song “If I Had You” by The Korgis uses the melody fragment from the 18th variation.
The video game Gran Turismo 6 uses it as the intro theme.
0:07 Hush Hush Hush (Henry Hall) 2:55 Heebie Jeebies (Boswell Sisters) 5:30 The Haunted House (New Mayfair Dance Orchestra) 9:09 Dancing The Devil Away (Arden & Ohman Orch) 12:12 Mysterious Mose (Rube Bloom & His Bayoo Boys) 15:30 Minnie The Moocher (Cab Calloway) 18:41 Spell of the Blues (Frederick Vettel) 21:39 Ghost of a Chance (Ted Fio Rito) 24:57 Them’s Graveyard Words (Bessie Smith) 27:33 The Nightmare (Cab Calloway) 30:14 Ghost Walk (Borrah Minnevitch) 33:08 Got The Jitters (Don Redman & Orchestra) 36:02 Midnight, The Stars and You (Al Bowlly with Ray Noble’s Orchestra)
Dave Brubeck’s Greatest Hits, find this sheet music and many more in our Library.
David Warren Brubeck (December 6, 1920 – December 5, 2012) was an American jazz pianist and composer, considered one of the foremost exponents of cool jazz. Many of his compositions have become jazz standards including “In Your Own Sweet Way” and “The Duke”. Brubeck’s style ranged from refined to bombastic, reflecting both his mother’s classical training and his own improvisational skills. His music is known for employing unusual time signatures as well as superimposing contrasting rhythms, meters, and tonalities.
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 composer of orchestral and sacred music and wrote soundtracks for television, such as Mr. Broadway and the animated miniseries This Is America, Charlie Brown.
Often incorrectly attributed to Brubeck, the song “Take Five“, which has become a jazz standard, was composed by Brubeck’s long-time musical partner, alto saxophonist Paul Desmond.Appearing on one of the top-selling jazz albums, Time Out, and written in 5/4 time, “Take Five” has endured as a jazz classic associated with Brubeck.
Awards
Connecticut Arts Award (1987)
National Medal of Arts, National Endowment for the Arts (1994)
Dick Collins, trumpet; Bob Collins, trombone; Bill Smith, clarinet, baritone sax; Paul Desmond, alto sax; David Van Kriedt, tenor sax; Dave Brubeck, piano; Jack Weeks, bass; Cal Tjader, drums.
“NBC audition”, San Francisco, CA, 1948
How High The Moon
Fantasy EP 4019, LP 3-16, LP 3-239
Playland-At-The-Beach
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* Fantasy LP 3-239, LP 8094; Original Jazz Classics OJC-101, OJCCD-101-2 Dave Brubeck Octet * Fantasy LP 3-16 Dave Brubeck – Old Sounds From San Francisco * Fantasy EP 4019 Dave Brubeck – Old Sounds From San Francisco
Dick Collins, trumpet; Bob Collins, trombone; Bill Smith, clarinet, baritone sax; Bob Cummings, alto sax; David Van Kriedt, tenor sax; Dave Brubeck, piano; Jack Weeks, bass; Cal Tjader, drums.
Prisoner’s Song
Fantasy EP 4020, LP 3-16, LP 3-239
Schizophrenic Scherzo
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Rondo
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I Hear A Rhapsody
Fantasy EP 4019, LP 3-16, LP 3-239
You Go To My Head
Fantasy EP 4020, LP 3-16, LP 3-239
Laura
Fantasy EP 4019, LP 3-16, LP 3-239
Closing Theme
Fantasy EP 4020, LP 3-16, LP 3-239
* Fantasy LP 3-239, LP 8094; Original Jazz Classics OJC-101, OJCCD-101-2 Dave Brubeck Octet * Fantasy LP 3-16 Dave Brubeck – Old Sounds From San Francisco * Fantasy EP 4019 Dave Brubeck – Old Sounds From San Francisco * Fantasy EP 4020 Dave Brubeck – Old Sounds From San Francisco
Dave Brubeck, piano; Ron Crotty, bass; Cal Tjader, drums.
San Francisco, CA, September, 1949
COR-551
Blue Moon
Coronet 104; Fantasy EP 4001, LP 3-2, LP 3-204
COR-552
Tea For Two
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COR-553
Indiana
Coronet 103; Fantasy EP 2-802, LP 3-1, LP 3-204
COR-554
Laura
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* Fantasy LP 3-204 Dave Brubeck Trio = Fantasy LP 3331, LP 8073 Dave Brubeck Trio Featuring Cal Tjader = Fantasy F-24726, FCD-24726-2 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals – 24 Classic Original Recordings * Fantasy LP 3-2 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals = Vogue (F) LD 022 Dave Brubeck – Piano Et Rhytmes * Fantasy LP 3-1 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals = Vogue (F) LD 102 Dave Brubeck Trio, Vol. 2 * Fantasy EP 4001 The Dave Brubeck Trio * Fantasy EP 2-802 The Dave Brubeck Trio * Coronet 104; Fantasy 505 Dave Brubeck – Blue Moon / Tea For Two * Coronet 103; Fantasy 504 Dave Brubeck – Laura / Indiana
Dave Brubeck, piano; Ron Crotty, bass; Cal Tjader, drums, vibes.
San Francisco, CA, March, 1950
3006
You Stepped Out Of A Dream
Fantasy 501, LP 3-1, LP 3-204
3008
Lullaby In Rhythm
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3010
Singin’ In The Rain
Fantasy 502, LP 3-1, LP 3-204
3025
I’ll Remember April
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3029
Body And Soul
Fantasy 503, LP 3-1, LP 3-204
3042
Let’s Fall In Love
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* Fantasy LP 3-204 Dave Brubeck Trio = Fantasy LP 3331, LP 8073 Dave Brubeck Trio Featuring Cal Tjader = Fantasy F-24726, FCD-24726-2 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals – 24 Classic Original Recordings * Fantasy LP 3-1 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals = Vogue (F) LD 102 Dave Brubeck Trio, Vol. 2 * Fantasy 501 Dave Brubeck – You Stepped Out Of A Dream / Lullaby In Rhythm * Fantasy 502 Dave Brubeck – Singin’ In The Rain / I’ll Remember April * Fantasy 503 Dave Brubeck – Body And Soul / Let’s Fall In Love
* Fantasy LP 3-205 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals = Fantasy LP 3332, LP 8074 The Dave Brubeck Trio – Brubeck Tjader = America (F) 30 AM 6095 The Dave Brubeck Trio – Brubeck-Tjader = Fantasy F-24726, FCD-24726-2 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals – 24 Classic Original Recordings * Fantasy LP 3-204 Dave Brubeck Trio = Fantasy LP 3331, LP 8073 Dave Brubeck Trio Featuring Cal Tjader = Fantasy F-24726, FCD-24726-2 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals – 24 Classic Original Recordings * Fantasy LP 3-2 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals = Vogue (F) LD 022 Dave Brubeck – Piano Et Rhytmes * Fantasy EP 4002 The Dave Brubeck Trio * Fantasy EP 4001 The Dave Brubeck Trio * Fantasy 508 Dave Brubeck – ‘S Wonderful / Spring Is Here * Fantasy 507 Dave Brubeck – Sweet Georgia Brown / September Song * Fantasy 506 Dave Brubeck – Undecided / That Old Black Magic
Dick Collins, trumpet; Bob Collins, trombone; Bill Smith, clarinet, baritone sax; Paul Desmond, alto sax; David Van Kriedt, tenor sax; Dave Brubeck, piano; Jack Weeks, bass; Cal Tjader, drums.
San Francisco, CA, July, 1950
7013
Love Walked In
Fantasy 509, EP 4003, LP 3-3, LP 3-239
7021
IPCA
Fantasy 512, EP 4004, LP 3-3, LP 3-239
7027
What Is This Thing Called Love
Fantasy 510, EP 4003, LP 3-3, LP 3-239
7031
The Way You Look Tonight
Fantasy 509, EP 4003, LP 3-3, LP 3-239
7036
September In The Rain
Fantasy 510, EP 4003, LP 3-3, LP 3-239
7042
Prelude
Fantasy 511, EP 4004, LP 3-3, LP 3-239
7047
Fugue On Bop Themes
–
7052
Let’s Fall In Love
Fantasy 512, EP 4004, LP 3-3, LP 3-239
* Fantasy LP 3-239, LP 8094; Original Jazz Classics OJC-101, OJCCD-101-2 Dave Brubeck Octet * Fantasy LP 3-3 The Dave Brubeck Octet – Distinctive Rhythm Instrumentals = Vogue (F) LD 023 Dave Brubeck Octet * Fantasy EP 4003 Dave Brubeck Octet * Fantasy EP 4004 Dave Brubeck Octet * Fantasy 509 Dave Brubeck – Love Walked In / The Way You Look Tonight * Fantasy 512 Dave Brubeck – IPCA / Let’s Fall In Love * Fantasy 510 Dave Brubeck – What Is This Thing Called Love / September In The Rain * Fantasy 511 Dave Brubeck – Prelude / Fugue On Bop Themes
Dave Brubeck, piano; Ron Crotty, bass; Cal Tjader, drums.
San Francisco, CA, October, 1950
10004
I Didn’t Know What Time It Was
Fantasy 514, EP 4005, LP 3-4, LP 3-205
10010
Squeeze Me
Fantasy 515, EP 4006, LP 3-4, LP 3-205
10020
Too Marvelous For Words
Fantasy 516, EP 4006, LP 3-4, LP 3-205
10026
How High The Moon
Fantasy 515, EP 4006, LP 3-4, LP 3-205
10041
Heart And Soul
Fantasy 516, EP 4006, LP 3-4, LP 3-205
* Fantasy LP 3-205 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals = Fantasy LP 3332, LP 8074 The Dave Brubeck Trio – Brubeck Tjader = America (F) 30 AM 6095 The Dave Brubeck Trio – Brubeck-Tjader = Fantasy F-24726, FCD-24726-2 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals – 24 Classic Original Recordings * Fantasy LP 3-4 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals = Vogue (F) LD 103 Dave Brubeck Trio, Vol. 3 * Fantasy EP 4005 The Dave Brubeck Trio * Fantasy EP 4006 The Dave Brubeck Trio * Fantasy 514 Dave Brubeck – I Didn’t Know What Time It Was / Always * Fantasy 515 Dave Brubeck – Squeeze Me / How High The Moon * Fantasy 516 Dave Brubeck – Too Marvelous For Words / Heart And Soul
* Fantasy LP 3-205 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals = Fantasy LP 3332, LP 8074 The Dave Brubeck Trio – Brubeck Tjader = America (F) 30 AM 6095 The Dave Brubeck Trio – Brubeck-Tjader = Fantasy F-24726, FCD-24726-2 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals – 24 Classic Original Recordings * Fantasy LP 3-4 The Dave Brubeck Trio – Distinctive Rhythm Instrumentals = Vogue (F) LD 103 Dave Brubeck Trio, Vol. 3 * Fantasy EP 4005 The Dave Brubeck Trio * Fantasy 514 Dave Brubeck – I Didn’t Know What Time It Was / Always * Fantasy 513 Dave Brubeck – Avalon / Perfidia
Paul Desmond, alto sax; Dave Brubeck, piano; Fred Dutton, bass; Herb Barman, drums.
San Francisco, CA, August, 1951
8127
Crazy Chris
Fantasy 517, 558, LP 3-5, LP 3-229
8130
A Foggy Day
Fantasy 518, LP 3-5, LP 3-229
8134
Lyons Busy
–
8137
Somebody Loves Me
Fantasy 517, LP 3-5, LP 3-229
Crazy Chris (as Crazy Time)
Crown CLP 5056
* Fantasy LP 3-229, LP 8092 Brubeck Desmond = America (F) 30 AM 6068 The Genius Of Dave Brubeck = Fantasy F-24728, FCD-24728-2 The Dave Brubeck Quartet Featuring Paul Desmond – Stardust * Crown CLP 5056 Various Artists – Jazz Confidential * Fantasy LP 3-5; Vogue (F) LD 146 Dave Brubeck Quartet * Fantasy 517 Dave Brubeck – Crazy Chris / Somebody Loves Me * Fantasy 558 Dave Brubeck – Crazy Chris / Trolley Song * Fantasy 518 Dave Brubeck – A Foggy Day / Lyons Busy
Paul Desmond, alto sax; Dave Brubeck, piano; Wyatt Ruther, bass; Herb Barman, drums.
San Francisco, CA, November, 1951
11103
At A Perfume Counter
Fantasy 520, LP 3-5, LP 3-229
11113
Mam’selle
Fantasy 519, LP 3-5, LP 3-229
11119
Me And My Shadow
–
11133
Frenesi
Fantasy 520, LP 3-5, LP 3-229
At A Perfume Counter
Crown CLP 5288
* Fantasy LP 3-229, LP 8092 Brubeck Desmond = America (F) 30 AM 6068 The Genius Of Dave Brubeck = Fantasy F-24728, FCD-24728-2 The Dave Brubeck Quartet Featuring Paul Desmond – Stardust * Crown CLP 5288 Dave Brubeck Quartet – Paul Desmond Quartet – Cal Tjader * Fantasy LP 3-5; Vogue (F) LD 146 Dave Brubeck Quartet * Fantasy 520 Dave Brubeck – Frenesi / At A Perfume Counter * Fantasy 519 Dave Brubeck – Mam’selle / Me And My Shadow
* Fantasy LP 3-240, LP 8080 Brubeck Desmond – Jazz At Storyville = Fantasy F-24727, FCD-24727-2 Dave Brubeck/Paul Desmond * Fantasy LP 3-229, LP 8092 Brubeck Desmond = America (F) 30 AM 6068 The Genius Of Dave Brubeck = Fantasy F-24728, FCD-24728-2 The Dave Brubeck Quartet Featuring Paul Desmond – Stardust * Fantasy LP 3-230, LP 8093 Dave Brubeck Quartet = Fantasy F-24728, FCD-24728-2 The Dave Brubeck Quartet Featuring Paul Desmond – Stardust * Fantasy LP 3-210 Dave Brubeck Quartet Featuring Paul Desmond – Jazz At The Blackhawk = Fantasy LP 3298, LP 8081 Brubeck Desmond – Two Knights At The Blackhawk = Fantasy F-24727, FCD-24727-2 Dave Brubeck/Paul Desmond * Fantasy LP 3-7 The Dave Brubeck Quartet * Fantasy EP 4053 Dave Brubeck Quartet Featuring Paul Desmond – Jazz At The Blackhawk * Fantasy 521 Dave Brubeck – Look For The Silver Lining / This Can’t Be Love * Fantasy 523 Dave Brubeck – My Romance / Just One Of Those Things * Fantasy 527 Dave Brubeck – On A Little Street In Singapore / I May Be Wrong * Fantasy 524 Dave Brubeck – Stardust / Lulu’s Back In Town * Fantasy 526 Dave Brubeck – Alice In Wonderland / All The Things You Are
Paul Desmond, alto sax; Dave Brubeck, piano; Ron Crotty, bass #1; Lloyd Davis, drums.
“Storyville Club”, Boston, MA, October 22, 1952
1.
Over The Rainbow
Fantasy EP 4011, LP 3-8, LP 3-240
2.
You Go To My Head
–
3.
Give A Little Whistle
Fantasy EP 4012, LP 3-8, LP 3-240
4.
Oh, Lady Be Good
–
* Fantasy LP 3-240, LP 8080 Brubeck Desmond – Jazz At Storyville = Fantasy F-24727, FCD-24727-2 Dave Brubeck/Paul Desmond * Fantasy LP 3-8 Brubeck Desmond – Jazz At Storyville * Fantasy EP 4011 Brubeck Desmond – Jazz At Storyville * Fantasy EP 4012 Brubeck Desmond – Jazz At Storyville
Paul Desmond, alto sax; Dave Brubeck, piano; Ron Crotty, bass; Lloyd Davis, drums.
“Storyville Club”, Boston, MA, February, 1953
Tea For Two
Fantasy EP 4012, LP 3-8, LP 3-240
* Fantasy LP 3-240, LP 8080 Brubeck Desmond – Jazz At Storyville = Fantasy F-24727, FCD-24727-2 Dave Brubeck/Paul Desmond * Fantasy LP 3-8 Brubeck Desmond – Jazz At Storyville * Fantasy EP 4012 Brubeck Desmond – Jazz At Storyville
* Fantasy LP 3-210 Dave Brubeck Quartet Featuring Paul Desmond – Jazz At The Blackhawk = Fantasy LP 3298, LP 8081 Brubeck Desmond – Two Knights At The Blackhawk = Fantasy F-24727, FCD-24727-2 Dave Brubeck/Paul Desmond * Fantasy EP 4014 Brubeck Desmond – Jazz At Storyville
“Finney Chapel, Oberlin College”, Oberlin, OH, March 2, 1953
26582
The Way You Look Tonight
Fantasy EP 4007, LP 3-11, LP 3-245, FCD-60-013
26583
How High The Moon
Fantasy EP 4062, LP 3-245
26584
These Foolish Things
Fantasy EP 4007, LP 3-11, LP 3-245, FCD-60-013
26585
Perdido
Fantasy EP 4013, LP 3-11, LP 3-245, FCD-60-013
26586
Stardust
–
* Fantasy LP 3-245, LP 8069; Original Jazz Classics OJC-046, OJCCD-046-2 The Dave Brubeck Quartet – Jazz At Oberlin = America (F) 30 AM 6073 The Dave Brubeck Quartet – Jazz At Storyville (mislabeled) = Atlantic SD 2-317 The Art Of Dave Brubeck – The Fantasy Years * Fantasy FCD-60-013 The Dave Brubeck Quartet Featuring Paul Desmond – In Concert * Fantasy LP 3-11 The Dave Brubeck Quartet – Jazz At Oberlin * Fantasy EP 4007 The Dave Brubeck Quartet * Fantasy EP 4062 The Dave Brubeck Quartet * Fantasy EP 4013 The Dave Brubeck Quartet – Jazz At Oberlin
Paul Desmond, alto sax; Dave Brubeck, piano; Ron Crotty, bass; Lloyd Davis, drums.
“Wilshire-Ebell College”, Los Angeles, CA, June 20, 1953
I’ll Never Smile Again
Fantasy EP 4065, LP 3249
Let’s Fall In Love
Fantasy LP 3249
Stardust
Fantasy EP 4065, LP 3249
All The Things You Are
Fantasy EP 4066, LP 3249
Why Do I Love You
Fantasy LP 3249
Too Marvelous For Words
Fantasy EP 4066, LP 3249
* Fantasy LP 3249, LP 8095 Dave Brubeck & Paul Desmond At Wilshire-Ebell = America (F) 30 AM 6083 The Dave Brubeck Quartet Featuring Paul Desmond – Recorded Live At Newport Jazz Festival * Fantasy EP 4065 The Dave Brubeck Quartet * Fantasy EP 4066 The Dave Brubeck Quartet
“The Blackhawk”, San Francisco, CA, September, 1953
Jeepers Creepers
Fantasy EP 4053, LP 3-210
* Fantasy LP 3-210 Dave Brubeck Quartet Featuring Paul Desmond – Jazz At The Blackhawk = Fantasy LP 3298, LP 8081 Brubeck Desmond – Two Knights At The Blackhawk = Fantasy F-24727, FCD-24727-2 Dave Brubeck/Paul Desmond * Fantasy EP 4053 Dave Brubeck Quartet Featuring Paul Desmond – Jazz At The Blackhawk
* Fantasy LP 3-210 Dave Brubeck Quartet Featuring Paul Desmond – Jazz At The Blackhawk = Fantasy LP 3298, LP 8081 Brubeck Desmond – Two Knights At The Blackhawk = Fantasy F-24727, FCD-24727-2 Dave Brubeck/Paul Desmond * Fantasy EP 4055 The Dave Brubeck Quartet – Trolley Song * Fantasy 530 Dave Brubeck – My Heart Stood Still / Trolley Song * Fantasy 535 Dave Brubeck – Trolley Song / Trolley Song Rehearsal
* Fantasy LP 3-210 Dave Brubeck Quartet Featuring Paul Desmond – Jazz At The Blackhawk = Fantasy LP 3298, LP 8081 Brubeck Desmond – Two Knights At The Blackhawk = Fantasy F-24727, FCD-24727-2 Dave Brubeck/Paul Desmond * Fantasy EP 4055 The Dave Brubeck Quartet – Trolley Song * Fantasy 530 Dave Brubeck – My Heart Stood Still / Trolley Song * Fantasy 535 Dave Brubeck – Trolley Song / Trolley Song Rehearsal * Fantasy 558 Dave Brubeck – Crazy Chris / Trolley Song
Paul Desmond, alto sax; Dave Brubeck, piano; Ron Crotty, bass; Joe Dodge, drums.
“College Of The Pacific”, Stockton, CA, December 14, 1953
26587
All The Things You Are
Fantasy LP 3-13, LP 3-223, FCD-60-013
26588
Laura
Fantasy EP 4055, LP 3-13, LP 3-223
26589
Lullaby In Rhythm
Fantasy EP 4054, LP 3-13, LP 3-223, FCD-60-013
26590
I’ll Never Smile Again
–
26591
I Remember You
Fantasy LP 3-223, FCD-60-013
26592
For All We Know
Fantasy EP 4055, LP 3-13, LP 3-223, FCD-60-013
same session.
Crazy Rhythm
Original Jazz Classics OJCCD-1076-2
Let’s Fall In Love
–
Stardust
–
How High The Moon
–
The Way You Look Tonight
–
Love Walked In
–
Give A Little Whistle
–
* Fantasy LP 3-223, LP 8078; Original Jazz Classics OJC-047, OJCCD-047-2 Dave Brubeck Quartet – Jazz At The College Of The Pacific = Atlantic SD 2-317 The Art Of Dave Brubeck – The Fantasy Years * Fantasy FCD-60-013 The Dave Brubeck Quartet Featuring Paul Desmond – In Concert * Original Jazz Classics OJCCD-1076-2 Dave Brubeck Quartet – Jazz At The College Of The Pacific, Volume 2 * Fantasy LP 3-13; Jazz Selection (F) JSLP 50022 Dave Brubeck Quartet – Jazz At The College Of The Pacific * Fantasy EP 4055 The Dave Brubeck Quartet – Trolley Song * Fantasy EP 4054 The Dave Brubeck Quartet
Paul Desmond, alto sax; Dave Brubeck, piano; Bob Bates, bass; Joe Dodge, drums.
“Storyville Club”, Boston, MA, March 30, 1954
CO51581
Gone With The Wind
Columbia CL 590
CO51582
Back Bay Blues
–
Crazy Chris
Fantasy EP 40??, LP 3-20, LP 3-240
* Columbia CL 590 Dave Brubeck At Storyville: 1954 * Fantasy LP 3-240, LP 8080 Brubeck Desmond – Jazz At Storyville = Fantasy F-24727, FCD-24727-2 Dave Brubeck/Paul Desmond * Fantasy LP 3-20 Paul And Dave – Jazz Interwoven * Fantasy EP 40?? Dave Brubeck – Jazz Interwoven
“University Of California”, Berkeley, CA, March, 1954
Stardust
Fantasy EP 40??, LP 3-20, LP 3-229
At A Perfume Counter
Fantasy EP 40??, LP 3-20, LP 3-230
* Fantasy LP 3-229, LP 8092 Brubeck Desmond = America (F) 30 AM 6068 The Genius Of Dave Brubeck = Fantasy F-24728, FCD-24728-2 The Dave Brubeck Quartet Featuring Paul Desmond – Stardust * Fantasy LP 3-230, LP 8093 Dave Brubeck Quartet = Fantasy F-24728, FCD-24728-2 The Dave Brubeck Quartet Featuring Paul Desmond – Stardust * Fantasy LP 3-20 Paul And Dave – Jazz Interwoven * Fantasy EP 40?? Dave Brubeck – Jazz Interwoven
* Columbia CL 622 The Dave Brubeck Quartet – Brubeck Time * Columbia CL 777 Various Artists – $64,000 Jazz * Columbia CL 699, CS 8645 The Dave Brubeck Quartet – Jazz: Red Hot And Cool
Paul Desmond, alto sax; Dave Brubeck, piano; Norman Bates, bass; Joe Dodge, drums; with Chet Baker, Clifford Brown, trumpet; Gerry Mulligan, baritone sax.
“Newport Jazz Festival”, Newport, RI, July 16, 1955
Tea For Two
Philology (It) W 51
* Philology (It) W 51, W 51.2 Chet Baker Quartet Plus… – The Newport Years, Vol. 1
* Columbia CL 878 Dave Brubeck – Brubeck Plays Brubeck * Columbia CL 1020 Various Artists – Jazz Omnibus * Columbia CL 2484, CS 9284 Dave Brubeck’s Greatest Hits
Paul Desmond, alto sax; David Van Kriedt, tenor sax; Dave Brubeck, piano; Norman Bates, bass; Joe Morello, drums.
San Francisco, CA, February, 1957
The Place
unissued
Strolling
Fantasy LP 3268
Shouts
–
Prelude
–
Divertimento
–
Chorale
–
Leo’s Place
–
Darien Mode
–
Pieta
–
* Fantasy LP 3268, LP 8007; Original Jazz Classics OJC-150, OJCCD-150-2 Brubeck, Desmond, Van Kriedt – Re-Union = Fantasy LP 8007 (alt.) Dave Brubeck, Paul Desmond, Dave Van Kriedt – Reunion
Paul Desmond, alto sax; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums.
Los Angeles, CA, April 22, 1959
HCO46192
Gone With The Wind
Columbia CL 1347
HCO46193
Lonesome Road
–
HCO46194
Swanee River
–
HCO46195
Basin Street Blues
–
HCO46196
Georgia On My Mind
–
* Columbia CL 1347, CS 8156 The Dave Brubeck Quartet – Gone With The Wind = Columbia CG 33666 The Dave Brubeck Quartet – Gone With The Wind And Time Out
* Columbia CL 1347, CS 8156 The Dave Brubeck Quartet – Gone With The Wind = Columbia CG 33666 The Dave Brubeck Quartet – Gone With The Wind And Time Out * Columbia CL 2484, CS 9284 Dave Brubeck’s Greatest Hits
* Columbia CL 1397, CS 8192 The Dave Brubeck Quartet – Time Out = Columbia CG 33666 The Dave Brubeck Quartet – Gone With The Wind And Time Out * Columbia CL 2484, CS 9284 Dave Brubeck’s Greatest Hits
Louis Armstrong, trumpet, vocals; Trummy Young, trombone, vocals; Joe Darensbourg, clarinet; Dave Brubeck, Billy Kyle, piano; Irving Manning, Gene Wright, bass; Danny Barcelona, Joe Morello, drums.
NYC, July 2, 1959
CO62590
King For A Day
Columbia OL 5850
* Columbia OL 5850, OS 2250; Columbia/Legacy CK 57663 Dave Brubeck, Iola Brubeck – The Real Ambassadors
Paul Desmond, alto sax; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums.
NYC, August 18, 1959
CO62752
Blue Rondo A La Turk
Columbia CL 1397, CL 1610, CL 2484
CO62753
Pick Up Sticks
Columbia CL 1397
* Columbia CL 1397, CS 8192 The Dave Brubeck Quartet – Time Out = Columbia CG 33666 The Dave Brubeck Quartet – Gone With The Wind And Time Out * Columbia CL 1610, CS 8410 Various Artists – Jazz Poll Winners * Columbia CL 2484, CS 9284 Dave Brubeck’s Greatest Hits
Paul Desmond, alto sax; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums.
live in Paris, France, circa spring 1961
Cassandra (mistitled as Castillian Drums)
Curcio (It) GJ-40
Three To Get Ready
–
St. Louis Blues
–
Forty Days
–
Softly William, Softly (mistitled as Summer Song)
–
Someday My Prince Will Come
–
* Curcio (It) GJ-40 Dave Brubeck, Paul Desmond, Joe Morello, Gene Wright – I Giganti Del Jazz, Vol. 40 = Europa Jazz (It) EJ-1032 Dave Brubeck, Paul Desmond, Joe Morello, Gene Wright – Europa Jazz = LRC Ltd. (J) YX-7362-SL, (J) 33C38-7681, (US) CDC 7681 Dave Brubeck – The Quartet
* Columbia CL 1775, CS 8575 The Dave Brubeck Quartet – Countdown Time In Outer Space * Columbia CL 1690, CS 8490 The Dave Brubeck Quartet – Time Further Out * Columbia CL 2484, CS 9284 Dave Brubeck’s Greatest Hits * Columbia CL 1970, CS 8770 Various Artists – The Giants Of Jazz
* Columbia CL 1690, CS 8490 The Dave Brubeck Quartet – Time Further Out * Columbia CL 1775, CS 8575 The Dave Brubeck Quartet – Countdown Time In Outer Space
Paul Desmond, alto sax #1-3; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums.
NYC, June 2, 1961
1. CO66981
Far More Blue
Columbia CL 1690
2. CO66982
Three’s A Crowd
Columbia CL 1775
3. CO66983
Maori Blues
rejected
4. CO66984
Bru’s Boogie Woogie
Columbia CL 1690
* Columbia CL 1690, CS 8490 The Dave Brubeck Quartet – Time Further Out * Columbia CL 1775, CS 8575 The Dave Brubeck Quartet – Countdown Time In Outer Space
Paul Desmond, alto sax; Max Pollikoff, concertmaster; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums; unidentified large orchestra, Howard Brubeck, arranger, conductor.
NYC, August 21, 1961
CO67947
Kathy’s Waltz
rejected
CO67948
Summer Song
Columbia CL 1963
CO67949
G Flat Theme
–
* Columbia CL 1963, CS 8763 The Dave Brubeck Quartet – Brandenburg Gate: Revisited
* Columbia CL 1963, CS 8763 The Dave Brubeck Quartet – Brandenburg Gate: Revisited * Columbia CL 1765, CS 8565 Various Artists – Who’s Who In The Swinging Sixties * Columbia CL 2484, CS 9284 Dave Brubeck’s Greatest Hits
Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums; Carmen McRae, vocals.
“Basin Street East”, NYC, September 6, 1961
CO85796
When I Was Young
Columbia CL 2316
CO85797
In Your Own Sweet Way
–
CO85798
Too Young For Growing Old
–
CO85799
Ode To A Cowboy
–
CO85800
There’ll Be No Tomorrow
–
CO85801
Melanctha
–
CO85802
It’s A Raggy Waltz
Columbia 4-43279, CL 2316
CO85804
Oh, So Blue
Columbia CL 2316
CO85805
Lord, Lord
–
CO85806
Travelin’ Blues
Columbia 4-43279, CL 2316
–
Columbia C 30522
* Columbia CL 2316, CS 9116 Carmen McRae With Dave Brubeck – Take Five: Recorded Live At Basin Street East * Columbia C 30522 Dave Brubeck – Summit Sessions * Columbia 4-43279 Carmen McRae – Travelin’ Blues / It’s A Raggy Waltz
Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums; Louis Armstrong, Lambert, Hendricks And Ross, vocals.
NYC, September 12, 1961
CO67988
Everybody’s Comin’
Columbia OL 5850
CO68176
The Real Ambassadors
–
CO67987
They Say I Look Like God
–
Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums; Lambert, Hendricks And Ross, vocals.
Blow Satchmo
–
Louis Armstrong, trumpet, vocals; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums; Howard Brubeck, tubular bells; Lambert, Hendricks And Ross, vocals.
CO68175
Swing Bells / Blow Satchmo / Finale
–
* Columbia OL 5850, OS 2250; Columbia/Legacy CK 57663 Dave Brubeck, Iola Brubeck – The Real Ambassadors
Dave Brubeck, Billy Kyle, piano; Gene Wright, bass; Joe Morello, drums; Louis Armstrong, vocals.
NYC, September 13, 1961
CO67991
Summer Song
Columbia 4-43032, OL 5850, C 30522
Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums; Louis Armstrong, Carmen McRae, vocals.
CO68178
One Moment Worth Years
Columbia OL 5850
CO67989
I Didn’t Know Until You Told Me
–
Louis Armstrong, trumpet, vocals; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums; Carmen McRae, vocals.
CO68177
You Swing Baby (The Duke)
Columbia FC 38508; Columbia/Legacy CK 57663
* Columbia OL 5850, OS 2250; Columbia/Legacy CK 57663 Dave Brubeck, Iola Brubeck – The Real Ambassadors * Columbia C 30522 Dave Brubeck – Summit Sessions * Columbia FC 38508 Various Artists – Singin’ Till The Girls Come Home-Various Artists – Vocalists * Columbia 4-43032; CBS (E) AAG 201 Louis Armstrong, Dave Brubeck – Summer Song / Nomad
Louis Armstrong, trumpet, vocals; Trummy Young, trombone, vocals; Joe Darensbourg, clarinet; Dave Brubeck, Billy Kyle, piano; Irving Manning, Gene Wright, bass; Danny Barcelona, Joe Morello, drums; Lambert, Hendricks And Ross, vocals.
NYC, September 19, 1961
CO68008
Cultural Exchange
Columbia OL 5850
Louis Armstrong, trumpet; Trummy Young, trombone; Joe Darensbourg, clarinet; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums; Carmen McRae, vocals.
Good Reviews (alternate take)
Columbia FC 38508
CO67990
Good Reviews
Columbia OL 5850
Louis Armstrong, trumpet, vocals; Trummy Young, trombone, vocals; Joe Darensbourg, clarinet; Dave Brubeck, Billy Kyle, piano; Irving Manning, Gene Wright, bass; Danny Barcelona, Joe Morello, drums.
CO68009
Remember Who You Are
–
CO68006
Since Love Had Its Way
Columbia OL 5850, CL 1765
Louis Armstrong, trumpet, vocals; Dave Brubeck, piano; Gene Wright, bass.
CO68010
Lonesome
Columbia C 30522; Columbia/Legacy CK 57663
Louis Armstrong, trumpet, vocals; Joe Darensbourg, clarinet; Dave Brubeck, Billy Kyle, piano; Gene Wright, bass; Joe Morello, drums.
CO68007
Nomad
Columbia 4-43032; Columbia/Legacy CK 57663
* Columbia OL 5850, OS 2250; Columbia/Legacy CK 57663 Dave Brubeck, Iola Brubeck – The Real Ambassadors * Columbia FC 38508 Various Artists – Singin’ Till The Girls Come Home-Various Artists – Vocalists * Columbia CL 1765, CS 8565 Various Artists – Who’s Who In The Swinging Sixties * Columbia C 30522 Dave Brubeck – Summit Sessions * Columbia 4-43032; CBS (E) AAG 201 Louis Armstrong, Dave Brubeck – Summer Song / Nomad
Paul Desmond, alto sax; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums; Carmen McRae, vocals.
NYC, December 15, 1961
CO68565
Take Five
Columbia 4-42292, CL 2316
* Columbia CL 2316, CS 9116 Carmen McRae With Dave Brubeck – Take Five: Recorded Live At Basin Street East * Columbia 4-42292 Carmen McRae – Take Five / Easy As You Go
Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums; Carmen McRae, vocals.
NYC, December 19, 1961
CO68799
My One Bad Habit
Columbia OL 5850
CO68797
In The Lurch
–
CO68691
Easy As You Go
Columbia 4-42292, CL 2316
* Columbia OL 5850, OS 2250; Columbia/Legacy CK 57663 Dave Brubeck, Iola Brubeck – The Real Ambassadors * Columbia CL 2316, CS 9116 Carmen McRae With Dave Brubeck – Take Five: Recorded Live At Basin Street East * Columbia 4-42292 Carmen McRae – Take Five / Easy As You Go
Paul Desmond, alto sax; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums.
NYC, October 25, 1962
CO76868
Bossa Nova U.S.A.
Columbia CL 1998, CL 2484
Santa Claus Is Comin’ To Town
Columbia CL 1893
Over And Over Again
Columbia CL 2437
Little Girl Blue
–
* Columbia CL 1998, CS 8798 The Dave Brubeck Quartet – Bossa Nova U.S.A. * Columbia CL 2484, CS 9284 Dave Brubeck’s Greatest Hits * Columbia CL 1893, CS 8693, PC 36803 Various Artists – Jingle Bell Jazz * Columbia CL 2437, CS 9237 Dave Brubeck Quartet – My Favorite Things
Paul Desmond, alto sax; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums.
“Carnegie Hall”, NYC, February 22, 1963
St. Louis Blues
Columbia CL 2036
Bossa Nova U.S.A.
–
For All We Know
–
Pennies From Heaven
–
Southern Scene
–
Three To Get Ready
–
same session.
Eleven Four
Columbia CL 2037
King For A Day
–
Castilian Drums, Part 1 & 2
–
It’s A Raggy Waltz
–
Blue Rondo A La Turk
–
Take Five
–
* Columbia CL 2036, C2L 26, C2S 826 The Dave Brubeck Quartet At Carnegie Hall * Columbia CL 2037, C2L 26, C2S 826 The Dave Brubeck Quartet At Carnegie Hall
Paul Desmond, alto sax; Dave Brubeck, piano; Gene Wright, bass; Joe Morello, drums.
NYC, July 15, 1964
CO83551
Theme From Mr. Broadway
Columbia CL 2275, CL 2484
CO83552
Autumn In Washington Square
Columbia CL 2275
* Columbia CL 2275, CS 9075; Columbia/Legacy CK 46189 The Dave Brubeck Quartet – Jazz Impressions Of New York * Columbia CL 2484, CS 9284 Dave Brubeck’s Greatest Hits
Paul Desmond, alto sax; Dave Brubeck, piano; Benjamin “Chamin” Correa, guitar; Gene Wright, bass; Joe Morello, drums; Salvador “Rabito” Agueros, bongos, congas.
“Jazz Festival”, Puebla & Mexico City, Mexico, May 12, 13 & 14, 1967
CO93275
Cielito Lindo
Columbia CL 2695
CO93276
Frenesi
Columbia/Legacy CK 65723
CO93277
Alla En El Rancho Grande
Columbia CL 2695
CO93278
Poinciana
–
CO93279
Besame Mucho
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CO93280
Estrellita
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CO93281
Sobre Las Olas
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CO93282
Nostalgia De Mexico
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CO93283
La Bamba
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CO93284
La Paloma Azul
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* Columbia CL 2695, CS 9495; Columbia/Legacy CK 65723 Bravo! Brubeck!
Dave Brubeck, piano, combo organ; Robert Delcamp, organ; Jack Six, bass; Alan Dawson, drums; Cantor Harold Orbach, tenor voice; McHenry Boatwright, bass baritone voice; The Westminster Choir, The Cincinnati Brass Ensemble, Erich Kunzel, conductor.
“Music Hall”, Cincinnati, OH, circa 1969
Lord, The Heaven Of Heavens
Decca DL 710175; MCA (G) MACS 3477
Oh, Come Let Us Sing
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Open The Gates
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Except The Lord Build The House
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Lord, Lord
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Ye Shall Be Holy
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Shout Unto The Lord
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When I Behold Thy Heavens
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(How) Glorious Is Thy Name
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The Lord Is Good
–
His Truth Is A Shield
–
Oh, Come Let Us Sing A New Song
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* Decca DL 710175 Dave Brubeck – The Gates Of Justice * MCA (G) MACS 3477 Dave Brubeck – The Gates Of Justice
Gerry Mulligan, baritone sax; Dave Brubeck, piano; Jack Six, bass; Alan Dawson, drums.
“Berlin Philharmonie”, Berlin, West Germany, November 7, 1970
Out Of Nowhere
Columbia/Legacy C2K 64820
Mexican Jumping Bean
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Blessed Are The Poor (as The Sermon On The Mount)
CBS (Eu) S 67261; Columbia KC 32143
Things Ain’t What They Used To Be
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Out Of The Way Of The People
CBS (Eu) S 67261
same session.
The Duke
–
New Orleans
–
Indian Song
CBS (Eu) S 67261; Columbia KC 32143
Limehouse Blues
–
St. Louis Blues
CBS (Eu) S 67261
Basin Street Blues
–
Take Five
–
Lullaby De Mexico (Lullaby Of Mexico)
CBS (Eu) S 67261; Columbia KC 32143
* CBS (Eu) S 67261; Columbia/Legacy C2K 64820 Dave Brubeck Trio And Gerry Mulligan – Live At The Berlin Philharmonie * Columbia KC 32143 Dave Brubeck Trio And Gerry Mulligan – Live At The Berlin Philharmonie
Chris Brubeck, bass trombone, electric piano, vocals; Peter Ruth, harmonica, flute, vocals; Dave Brubeck, piano; Jim Cathcart, organ, trumpet, vocals; Stephan Dudash, guitar, violin, vocals; David Mason, guitar, viola, vocals; Chris Brown, electric bass, bass, vocals; Lowell Thompson, bongo drums; Peter Bonisteel, percussion; Charlene Peterson, soprano voice; St. John’s Assembly, The Cincinnati Symphony Orchestra, Erich Kunzel, conductor; Gordon Franklin, director.
“University Of Cincinnati”, Cincinnati, OH, August 30 & 31, 1971
27780
Truth Is Fallen, Part I: Prelude
Atlantic SD 1606
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Truth Is Fallen, Part I: Merciful Men Are Taken Away
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–
Truth Is Fallen, Part I: Truth Is Fallen
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27781
Truth Is Fallen, Part II: Oh That My Head Were Waters
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–
Truth Is Fallen, Part II: Speak Out / I Called And No One Answered
–
–
Truth Is Fallen, Part II: Yea, Truth Faileth
–
–
Truth Is Fallen, Part II: Rock Solo (aka Truth)
–
–
Truth Is Fallen, Part II: Is The Lord’s Hand Shortened
Peter Ruth, harmonica; Stephan Dudash, violin; Dave Brubeck, piano; Jim Cathcart, electric piano; David Mason, guitar; Chris Brubeck, electric bass; Richie Morales, drums.
CI Recording, NYC, August 6, 1973
27169
Blue Rondo A La Turk
Atlantic SD 1645
28387
–
Atlantic 45-3015
* Atlantic SD 1645 Dave Brubeck – Two Generations Of Brubeck * Atlantic 45-3015 Dave Brubeck, New Heavenly Blue – Blue Rondo A La Turk / Three To Get Ready
Chris Brubeck, bass trombone, electric bass #2; Perry Robinson, clarinet; Jerry Bergonzi, soprano, tenor sax; Dave Brubeck, piano; Darius Brubeck, electric piano, Clavinet, organ; David Dutemple, electric bass #1; Danny Brubeck, drums; Randie Powell, percussion.
CI Recording, NYC, August 6, 1973
1. 27170
The Holy One
Atlantic SD 1645
2. 27171
Circadian Dysrhythmia
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* Atlantic SD 1645 Dave Brubeck – Two Generations Of Brubeck
Dave Brubeck, piano; Darius Brubeck, electric piano, Clavinet, organ #2-4; Chris Brubeck, electric bass #2-4; Danny Brubeck, drums #2-4; Randie Powell, percussion #2-4.
CI Recording, NYC, August 7, 1973
1. 27165
Thank You (mistitled as Dziekyje)
Atlantic SD 1645
2. 27166
Three To Get Ready
Atlantic 45-3015, SD 1645
3. 27167
Knives
Atlantic SD 1645
4. 27168
Unsquare Dance
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* Atlantic SD 1645 Dave Brubeck – Two Generations Of Brubeck * Atlantic 45-3015 Dave Brubeck, New Heavenly Blue – Blue Rondo A La Turk / Three To Get Ready
Chris Brubeck, bass trombone; Perry Robinson, clarinet; Jerry Bergonzi, soprano, tenor sax; Dave Brubeck, piano; Darius Brubeck, electric piano, Clavinet, organ; David Dutemple, electric bass; Danny Brubeck, drums; Randie Powell, percussion.
CI Recording, NYC, August 7, 1973
27172
Band Cell
unissued
27173
Tin Sink
Atlantic SD 1645
* Atlantic SD 1645 Dave Brubeck – Two Generations Of Brubeck
Chris Brubeck, bass trombone #2,3,5; Perry Robinson, clarinet; Jerry Bergonzi, soprano, tenor sax #1-3,5; Peter Ruth, harmonica, Jew’s harp #2,3,5; Dave Brubeck, piano #1,5, director #2-4; Darius Brubeck, electric piano; Dave Powell, electric bass #1-3,5; Danny Brubeck, drums.
CI Recording, NYC, June 27, 1974
1. 29079
Mr. Broadway
Atlantic SD 1660
2. 29083
Sky Scape
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3. 29084
Temptation Boogie
–
4. 29085
Ragaroni
–
5. 29086
Christopher Columbus
–
* Atlantic SD 1660 Dave Brubeck – Brother, The Great Spirit Made Us All
Dave Brubeck, piano; Darius Brubeck, synthesizer, electric keyboards; Chris Brubeck, electric bass, trombone; Dan Brubeck, percussion.
“Montreux International Festival”, Montreux, Switzerland, July 17, 1977
(It’s A) Raggy Waltz
Tomato TOM-7018
Brandenburg Gate
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In Your Own Sweet Way
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It Could Happen To You
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God’s Love (Made Visible)
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Summer Music
–
Brandenburg Gate
LRC Ltd. (J) 33C38-7681, (US) CDC 7681
In Your Own Sweet Way
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* Tomato TOM-7018; Affinity (E) AFF 201 The New Brubeck Quartet – Live At Montreux * LRC Ltd. (J) 33C38-7681 Dave Brubeck – The Quartet * LRC Ltd. (US) CDC 7681 Dave Brubeck – The Quartet
Michael Pedicin, tenor sax; Dave Brubeck, piano; Chris Brubeck, electric bass, bass trombone; Randy Jones, drums.
“Aurex Jazz Festival”, “Osaka Festival Hall”, Osaka, Japan, September 1, 1982
You Don’t Know What Love Is
Eastworld (J) EWJ-80239
Take Five
–
St. Louis Blues
–
Fantasy No. 1
Eastworld (J) EWJ-80255
Take The “A” Train
–
* Eastworld (J) EWJ-80239; somethin’else (J) TOCJ-8021 Aurex Jazz Festival ’82 – The Dave Brubeck Quartet * Eastworld (J) EWJ-80255 Aurex Jazz Festival ’82 – Live Special
Bill Smith, clarinet; Dave Brubeck, piano; Chris Brubeck, electric bass; Randy Jones, drums; The Montreal International Jazz Festival Orchestra, Russell Gloyd, conductor.
Festival International De Jazz De Montreal, QC, Canada, July 3, 1987
Summer Music
MusicMasters 01612-65051-2
Blue Rondo A La Turk
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Koto Song
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New Wine
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Lullaby
–
Out Of The Way Of The People
–
Take The “A” Train
–
* MusicMasters 01612-65051-2; Limelight (E) 820830 Dave Brubeck – New Wine
Bobby Militello, flute, alto, tenor sax; Matthew Brubeck, cello; Dave Brubeck, piano; Jack Six, bass; Chris Brubeck, electric bass, bass trombone; Danny Brubeck, Randy Jones, drums.
San Francisco, CA & NYC, September 20-21, 1988, December 27, 1989 & May 8, 1991
Bicycle Built For Two
MusicMasters 01612-65067-2
Linus And Lucy
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Forty Days
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When I Was A Child
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Quiet As The Moon
–
Cast Your Fate To The Wind
–
Benjamin
–
Looking At A Rainbow
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The Desert And The Parched Land
–
Travelin’ Blues
–
Unisphere
–
When You Wish Upon A Star
–
* MusicMasters 01612-65067-2; Limelight (E) 820845 Dave Brubeck – Quiet As The Moon
Bill Smith, clarinet; Bobby Militello, alto, tenor sax, flute; Dave Brubeck, piano; Jack Six, bass; Chris Brubeck, electric bass, bass trombone; Randy Jones, drums.
“Blue Note”, NYC, October 5-10, 1993
Yesterdays
Telarc CD-83351
I Can’t Give You Anything But Love
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Travelin’ Blues
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Thank You
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You Go To My Head
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Blues For Newport
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Ain’t Misbehavin’
–
Knives
–
River, Stay Away From My Door
–
* Telarc CD-83351 Dave Brubeck – Nightshift: Live At The Blue Note
Bobby Militello, sax; Dave Brubeck, piano; Jack Six, bass; Randy Jones, drums; Shelley Waite, soprano voice; Mark Bleeke, tenor voice; Kevin Deas, bass baritone voice; Cathedral Choral Society Chorus, Duke Ellington School Of Arts Show Choir, Cathedral Choral Society Orchestra, Russell Gloyd, conductor; Samuel Bonds, director.
1996
I. Processional
Telarc CD-80430
II. Lord Have Mercy
–
III. The Desert And The Parched Land
–
IV. The Peace Of Jerusalem
–
V. Alleluia
–
VI. Father, All Powerful
–
VII. Holy, Holy, Holy
–
VIII. While He Was At Supper
–
IX. When We Eat This Bread
–
X. Through Him, With Him
–
XI. Great Amen
–
XII. Our Father
–
XIII. Lamb Of God
–
XIV. All My Hope
–
XV. Gloria
–
* Telarc CD-80430 Dave Brubeck – To Hope! – A Celebration
An extraordinary rendition of Debussy’s piano preludes, played not note-by-note but shape-by-shape, colour-by-colour. The attention to detail is painstaking — notes seem to bend, individual attacks to melt, and the music moves effortlessly between scintillating fire and lakes of calm. The pauses in the music are perfectly controlled: look here, they seem to say, with the minutest gestures, look here at this unbelievable passage. The complaint is sometimes made that this recording is a bit too “harsh”, even “romantic”, but this sort of criticism misses the point a little. It seems to assume that impressionistic music is meant to be placid, reflective, maybe even dainty, but that’s not really the point.
Impressionistic music (if you are happy to go along with the term) is meant to make you *imagine* something — to evoke some kind of image. It might be an image of calm, or of roiling violence, but it’s the image — the sharpness of its contours — which matters, and by that standard this is a recording for the ages.
Book 1: 00:00 – 1. Lent et grave (…Danseuses de Delphes, Dancers of Delphi) 03:33 – 2. Modéré (…Voiles, Sails/Veils) 07:59 – 3. Animé (…Le vent dans la plaine, The Wind in the Plain) 10:05 – 4. Modéré (…«Les sons et les parfums tournent dans l’air du soir», “The sounds and fragrances swirl through the evening air”) 13:59 – 5. Très modéré (…Les collines d’Anacapri, The Hills of Anacapri) 17:30 – 6. Triste et lent (…Des pas sur la neige, Footsteps in the Snow) 21:49 –
7. Animé et tumultueux (…Ce qu’a vu le vent d’ouest, What the West Wind has Seen) 24:59 – 8. Très calme et doucement expressif (…La fille aux cheveux de lin, The Girl with the Flaxen Hair) 28:06 – 9. Modérément animé (…La sérénade interrompue, Interrupted Serenade) 30:32 – 10. Profondément calme (…La cathédrale engloutie, The Submerged Cathedral) 37:52 – 11. Capricieux et léger (…La danse de Puck, Puck’s Dance) 40:26 – 12. Modéré (…Minstrels)
Book 2 42:46 – 1. Modéré (…Brouillards, Mists) 46:12 – 2. Lent et mélancolique (…Feuilles mortes, Dead Leaves) 50:02 – 3. Mouvement de Habanera (…La puerta del Vino, Wine Door) 53:07 – 4. Rapide et léger (…«Les fées sont d’exquises danseuses», “Fairies are exquisite dancers”) 56:18 – 5. Calme (…Bruyères, Heather/Town in Eastern France) 59:21 – 6. Dans le style et le mouvement d’un Cakewalk (…Général Lavine – eccentric) 1:01:51 –
7. Lent (…La terrasse des audiences du clair de lune, The Terraces of Moonlight Audiences) 1:06:16 – 8. Scherzando (…Ondine) 1:09:37 – 9. Grave (…Hommage à S. Pickwick Esq. P.P.M.P.C., Homage to S. Pickwick) 1:11:58 – 10. Très calme et doucement triste (…Canope, Canopic Jar) 1:15:06 – 11. Modérément animé (…Les tierces alternées, Alternating Thirds) 1:17:47 – 12. Modérément animé (…Feux d’artifice, Fireworks)
Debussy Claude Achille 1862-1918
Né à Saint-Germain-en-Laye le 22 août 1862, mort à Paris le 25 mars 1918.
Ses parents tiennent un commerce de porcelaine. Pendant la guerre de 1870, la famille se réfugie chez sa tante (côté paternel), Clémentine, qui lui fait avoir ses premières leçons de musique avec un musicien italien, Jean Cerutti. À Paris, son père rejoint la Commune et sert comme capitaine dans la Garde Nationale. Quand la Commune de Paris est écrasée par les forces de Thiers, il est arrêté et condamné à quatre ans de prison. Libéré au bout d’une année, il est privé de ses droits civils.
Selon Charles de Sivry, Achille est confié à Antoinette Mauté de Fleurville, élève de Chopin et belle-mère de Verlaine ; elle le prépare à entrer au Conservatoire de Paris : il y est admis en 1872.
Il étudie le piano avec Antoine Marmontel et le solfège avec Albert Lavignac. Il obtient de petits prix pour le piano et le solfège entre 1875 et 1877 et ne peut prétendre à une carrière de pianiste virtuose. Il entre dans la classe d’harmonie d’Émile Durand et dans celle d’accompagnement d’Auguste Bazille où il obtient son seul premier prix.
Il compose ses premières mélodies en 1879 sur des textes d’Alfred de Musset (Madrid, Ballade à la lune).
En été 1880, il est engagé par Nadezhda von Meck, pour apprendre à ses enfants à jouer des duos avec elle. Il séjourne avec la famille à Arcachon, puis à Florence, où il compose sa première œuvre pour le piano et son trio pour piano.
À son retour à Paris il s’inscrit dans la classe de composition d’Ernest Guiraud, et gagne sa vie comme accompagnateur dans le classe de chant de Victorine Moreau-Sainti. Il y rencontre Marie Vasnier pour laquelle il écrit des mélodies sur des poèmes de Théophile Gautier, Leconte de Lisle et Banville
En 1881, il rejoint Madame von Meck pendant deux mois en Russie. Il est de nouveau à Moscou en été 1882, puis à Vienne pour deux mois.
En 1883, il présente sa cantate Le Gladiateur pour le Prix de Rome.
Il est engagé comme accompagnateur des choeurs «Concordia» où Gounod le prend sous sa protection. Il compose de nouvelles mélodies pour Marie Vasnier sur des textes de Paul Bourget et de Paul Verlaine.
En 1884, il remporte le premier grand Prix de Rome avec sa cantate «L’enfant prodigue».
Il est pendant deux années un pensionnaire indocile de la Villa Médicis. Il y compose Zuleima (perdu), Printemps (suite symphonique) et La demoiselle élue, qu’il achève après son retour à Paris zen 1887.
Il fréquente les milieux littéraires et artistiques, y rencontre les poètes symbolistes, se lie avec Paul Dukas, Robert Godet, Raymond Bonheur. Deux de ses Ariettes oubliées sont données à la Société Nationale de Musique. Il compose les Cinq poèmes de Baudelaire et la Fantaisie pour piano et orchestre.
En 1888 et 1889 il se rend à Bayreuth.
Au cours de l’Exposition Universelle de 1889, il découvre avec intérêt les gamelans de Java. Il travaille pendant deux années à Rodrigue et Chimène, un opéra sur un livret de Catulle Mendès, d’après Le Cid.
Fin 1890, il rencontre Mallarmé qui lui demande de participer à un projet théâtral qui n’a pas abouti autour du poème L’Après-midi d’un faune. Il fait la connaissance d’Erik Satie et publie des mélodies pour piano. Il découvre Edgar Poe et Maeterlinck.
En 1892, il met en musique quelques unes de ses poésies influencées par le symbolisme.
En 1893 La Demoiselle élue est donnée A la Société Nationale, et son quatuor pour cordes est joué par la quartette Ysaÿe.
Ernest Chausson le prend sous sa protection et pendant deux années lui apporte une aide financière.
Il découvre Boris Goudounov de Moussorgsky et La pièce de Maeterlinck; Pelléas et Melisande, jouée au théâtre des Bouffes du Nord à Paris.
Il fréquente le salon de Mallarmé et revient au projet de l’ Après-midi d’un faune en composant le prélude.
Il rencontre Pierre Louÿs et se rend avec lui à Gand auprès de Maeterlinck pour obtenir le droit de composer sur Pelléas et Melisande. L’opéra est achevé en 1895, mais n’est pas créé. En 1897-1898, il compose La Chanson de Bilitis, sur un texte de Pierre Louÿs.
En mai 1898, il rencontre pour la première fois Rosalie Texier, mannequin chez les sœurs Callot, rue Taitbout, une maison de haute couture renommée.
En 1899, il achève Nuages, Fêtes et Sirènes ; la même année, le 19 octobre, il se marie avec Lilly Texier. Pierre Louÿs, Erik Satie et Lucien Fontaine sont les témoins.
En août 1901, le couple séjourne pour la première fois à Bichain dans l’Yonne, auprès de le famille de Lilly. Debussy y composera une partie de La mer.
En janvier 1903, Debussy est promu Chevalier de la Légion d’honneur. La même année, ses relations avec Emma Bardac sont à l’origine d’un drame familial et de fâcheries avec quelques amis.
Le 11 août, alors qu’il est à Dieppe avec Emma, il écrit une lettre de rupture à Lilly qui séjourne à Bichain. Le 13 octobre 1904, Lilly Debussy fait une tentative de suicide, en se tirant une balle dans le ventre, elle est hospitalisée et opérée. Mary Garden et les amis du couple prennent son parti, ouvrent une souscription, et l’installent à l’Hôtel Américain, avenue Friedland, puis avenue de Villiers dans le 17e arrondissement.
Le divorce est prononcé le 2 août 1905, Debussy doit verser une pension de 400 francs et une une rente viagère, sommes qu’il arrête de verser en 1910. Il est condamné en 1916 à verser 30.000 francs. Rosalie Texier meurt le 17 décembre 1932, dans son appartement de l’avenue de Villiers.
En 1905 il signe un contrat d’exclusivité avec les éditions Durand. La Mer est créée le 15 octobre 1905. Le 30 octobre Emma-Claude (dite Chouchou) vient au monde.
En 1908, il dirige lui-même l’exécution de La Mer et des extraits de Pelléas aux Concerts Colonne. Quinze jours plus tard, le 30 octobre, il épouse Emma Bardac. Pelléas est créée en Allemagne et à New York, et la première biographie par Louise Liebich est publiée à Londres. En 1919, Louis Laloy publiera à son tour, à Paris, une biographie de Debussy.
En 1909, à la demande de Gabriel Fauré, il entre au conseil d’administration du Conservatoire, qui le commandite pour le concours de clarinette de l’année suivante. Il compose la première rhapsodie pour clarinette et piano, et une petite pièce pour l’épreuve de déchiffrage.
Il se lie avec André Caplet. En février 1909, il est en Grande-Bretagne.
En 1910, Ibéria et Rondes de Printemps sont créés. Il se rend à Vienne et à Budapest, puis à son retour, il compose Le martyre de Saint Sébastien, mystère en 5 actes de Gabriele D’Annunzio. Il se lie avec Stravinsky.
Le 15 mai 1913, création de Jeux (poème dansé) par les Ballets russes de Diaghilev. Il écrit pour la Revue Musicale et dirige la création d’Images pour orchestre le 26 février 1913. Il compose le second livre de préludes pour piano, Trois poèmes de Mallarmé, et une ballet pour enfants, La boîte à joujoux (piano seul).Il se rend à Saint-Pétersbourg et à Moscou, et, qu début de 1914 à Rome, Amsterdam, La Haye, Bruxelles, Londres.
Il compose La Berceuse héroïque pour une commande du Daily Telegraph pour le «King Albert’s Book». En 1915, il subit une opération du colon il passe l’été à Pourville, ville côtière de la mer du Nord. Il y compose la Sonate pour violoncelle, Blanc et noir, Les Études, et la sonate pour flûte, alto et harpe.
Il revient à l’un de ses anciens projets, La chute de la maison Usher. Il écrit une nouvelle version du livret, mais ne compose une esquisse complète que pour une scène.
En mars 1917 il termine la composition de la sonate pour violon, créée à Saint-Jean-de-Luz par Gaston Poulet. Ce sera la dernière apparition publique de Debussy.
Nobuyuki Tsujii (辻井 伸行, Tsujii Nobuyuki) (also known as Nobu Tsujii) is a Japanese pianist and composer. He was born blind due to microphthalmia, and his exceptional musical talent has propelled him to become a world renowned artist. Tsujii performs extensively, with a large number of conductors and orchestras, and has received critical acclaims as well as notices for his unique techniques for learning music and performing with an orchestra while being unable to see.
Tsujii learns new musical works strictly by ear. A 2009 Time article explains: “Certainly, being blind hasn’t made it easy. Tsujii can use Braille music scores to learn new pieces, but this kind of translation is usually done by volunteers. Because demand is so low, the variety of scores available does not meet the needs of a professional performer, so Tsujii has devised his own method. A team of pianists records scores along with specific codes and instructions written by composers, which Tsujii listens to and practices until he learns and perfects each piece.”.
Tsujii said in a 2011 interview, “I learn pieces by listening, but it doesn’t mean I’m copying CDs or another person’s interpretation. I ask my assistants to make a special cassette tape for me. They split the piece into small sections, such as several bars, and record it (one hand at a time). I call these tapes ‘music sheets for ears.’ It takes me a few days to complete a short piece, but it takes one month to complete a big sonata or concerto.”
Tsujii has performed successfully with numerous orchestras under the baton of many conductors, both in Japan and abroad.
In 2017, a reporter from the Australian Broadcasting Corporation, Monique Schafter, asked Tsujii “How do you stay in time when you can’t see the conductor?” The pianist replied: ” By listening to the conductor’s breath and also sensing what’s happening around me.” Conductor Bramwell Tovey commented: “He must have very acute hearing, I’m sure.”
In addition to being a pianist, Tsujii is a composer.
At age 12, he performed his own composition “Street Corner of Vienna.”
In 2010-2011, he composed the theme music for a Japanese film ‘神様のカルテ (In His Chart)’,[34] for which he was named the 2011 Film Music Artist by the Japan Film Critics Award. That same year, he also composed the theme music for a Japanese TV drama ‘それでも、生きてゆく (Still We Live On)’.
In June 2011, Japanese figure skating champion Midori Ito performed in a world event (Master Elite Oberstdorf 2011) to the music of “Whisper of the River,” composed by Tsujii when he was in high school to express his love for his father after the two took a walk on the Kanda River in Tokyo.
Tsujii was the music director and composed the theme music for the Japanese film はやぶさ 遥かなる帰還 The Return of the Hayabusa released in February 2012. In 2014, he composed the ending theme for the film ‘マエストロ(Maestro!)’.
In 2016, Tsujii created and performed the background music for a series of three animation of Chōjū-jinbutsu-giga scrolls produced by Studio Ghibli for Marubeni Corporation.
Tsujii’s 2011 performance of his own composition, “Elegy for the Victims of the Tsunami of March 11, 2011 in Japan”, is widely viewed on the Internet.
Tsujii has an extensive discography. His recordings are now available worldwide.
