This is the big one. The unicorn. The white whale. The record that woke the vinyl collector within me. The search for this record took years, but this year the vinyl gods smiled on me, and I am now the owner of this rare bootleg album. One of the reasons why I’ve been on the hunt for this album is because it’s only available on vinyl. It was because of this and other rare Brubeck and Desmond music that’s only on vinyl that started me on the journey of record collecting. Naturally, this record has a rather unconventional background. But first… Continue reading
Tag Archives: Paul Desmond
After a brief hiatus due to finals and end-of-the-year projects and assignments, I am back! What, you thought the ‘college’ in ‘College Jazz Collector’ was for decoration? Continue reading
To start off this journey as College Jazz Collector, I figured I should start off with this Brubeck album, for a few reasons. First (and most importantly), it’s the Dave Brubeck Quartet; I almost HAD to. Secondly, this is probably my all-time favorite jazz album. And thirdly, this album was recorded exactly 60 years ago in 1957, which is a neat coincidence. Continue reading
Paul Desmond’s penchant for slipping quotes from other songs or solos into his own solos is well known among jazz musicians and his fans. Desmond’s discography is rife with examples. Dave Brubeck often talked about the way Desmond would weave together different quotes from various songs to tell a story or communicate a message. Continue reading
From its beginning in 1951, the Dave Brubeck Quartet had a seemingly constant stream of new drummers and bassists join the group until settling down in 1958. When the group first began making records in ’51 for Fantasy, the quartet consisted of Herb Barman on drums and Fred Dutton doubling on bassoon and bass. Dutton was soon replaced that year by Wyatt “Bull” Ruther, who played bass only. Both appeared on records made that year. Ruther and Barman exemplified the kind of rhythm section Paul Desmond favored, one that provided a musical foundation for him and Brubeck to solo over. Live tapes from 1951 and 1952 display the swinging contributions Ruther and Barman made to the group. It was this formation of the Quartet that ventured East to the famous Birdland in New York.
In late 1952, Herb Barman was replaced with Lloyd Davis, and in December, Wyatt Ruther left to join Erroll Garner, and Ron Crotty (the bassist in Brubeck’s trio) stepped in. This version of the Quartet stayed together for nearly a year, recording the landmark album, Jazz At Oberlin in March of 1953. In December of that year, Davis tired of the travel, and was replaced by Joe Dodge, an old friend of Desmond’s. The album Jazz At College of The Pacific, and its companion album Jazz At College of The Pacific Volume II from the same performance, is Dodge’s first album with the Brubeck Quartet. Early 1954 found Bob Bates as the quartet’s new bassist, replacing Crotty who was sick. This quartet went on to catapult the Dave Brubeck Quartet into the national spotlight, landing Brubeck on the cover of Time Magazine in late 1954 and moving the group from Fantasy to the Columbia label. Noteworthy albums this particular version of the Quartet produced includes Jazz Goes To College, Jazz: Red Hot And Cool, and Brubeck Time. Bob’s brother Norman Bates took over the bassist chair in 1956, and later that year Joe Dodge would leave the group. Desmond suggested Joe Morello as a replacement, a suggestion he later regretted. With Morello in the group, the sound of the Quartet changed. In late 1957, Bates opted out of the group, and Eugene Wright joined the group at the start of 1958 as the Quartet embarked on tours of Europe and the Middle East for the American government. Wright briefly left the group in the summer of ’58, and Joe Benjamin stepped in on bass for two albums recorded that year, Newport ’58 and Jazz Impressions of Eurasia. Wright was back for the remainder of 1958, as was Morello, and this manifestation of the Dave Brubeck Quartet stayed together for nearly ten years, becoming known as the ‘Classic Quartet’. The Quartet remained extremely active in their traveling, and recorded prolifically throughout the 1960’s, right up to and including their last performance in December of 1967. Looking back on the many different reincarnations of the Dave Brubeck Quartet, it’s interesting to see how the sound of the quartet changed as different sidemen joined and left. But, let’s save that for another post.
Hello and welcome to my blog all about Dave Brubeck and Paul Desmond and the musical lives they lived. I am a Dave Brubeck and Paul Desmond fan in the fullest sense of the word, and have been for a couple of years. But I suppose you’d like to know who is behind this blog. Briefly then, my name is Tarik Townsend, and I’m a college student, which snicker though you may, is no easy feat these days. I’ve been listening to jazz more or less seriously since I was in 5th grade. The first jazz album I bought was the Vince Guaraldi CD ‘A Boy Named Charlie Brown’, and, despite being made fun of for listening to ‘elevator’ music, continued to listen and buy jazz throughout the years. A secretary at my school office introduced me to Dave Brubeck when I was in the 7th grade. It was playing on her stereo in the office, and I asked who it was. She told me, and gave me the CD, a compilation of tracks from different albums. Dave Brubeck and Paul Desmond have been my favorite jazz musicians ever since. So, as I said, this blog will be about Mr. Brubeck and Mr. Desmond, with emphasis on the quartet they formed in the early 1950’s that lasted on through the 1960’s. As a side note, I’m new to this blogging business, so bear that in mind if you notice any discrepancies. So here’s to a great blogging experience!
UPDATE March 2017
While originally being a blog about Dave Brubeck and Paul Desmond, my blog has now also become an outlet to blog about collecting jazz on vinyl, which has become a relatively new and vigorous hobby of mine. Yahoo!