Paul Desmond (alto sax), Joe Morello (drums), Eugene Wright (bass) and Dave Brubeck (piano) New Dave Brubeck Biography, A Timely Reminder Of Jazz Piano Royalty ‘Dave Brubeck: A Life In Time’ looks at how the pianist’s life criss-crossed with countless jazz greats, and dives into some lesser-known areas of his life. Paul Desmond (alto sax), Joe Morello (drums), Eugene Wright (bass) and Dave Brubeck (piano) New to Brubeck? Here’s some required listening for getting to know his use of odd time signatures. 5 exemplifies his use of space and openness. While Brubeck is well known for his frequent display of fast pyrotechnics and dense textures, Ex. During those studies, Brubeck began experimenting with polytonality-playing in more than one tonality at a time. It was Brubeck’s older brother Howard, chairman of the music department at Palomar Junior College, who first suggested he study with French composer Darius Milhaud. The rhythmic grouping of five notes in the place of four is distributed between two hands, a technique that’s been picked up by such pianists as Herbie Hancock and Chick Corea. 4 demonstrates Brubeck’s renowned use of polyrhythms, or playing in more than one rhythm at a time. 3athrough 3e (left to right) illustrate this approach in various time signatures. For example, “Take Five” is more accessible when you count its 5/4 time as “one two three, one two.” Exs. These broke up the measure into more digestible rhythmic phrases of (usually) two or three notes. Odd time signaturesīrubeck once famously stated, “I don’t think jazz should be in 4/4 time.” His use of metric subdivisions-seen here marked in groups-was the secret ingredient that made odd time signatures sound natural and swinging to the causal listener. Playing in 3/4 also let him superimpose another pulse “It’s a Raggy Waltz” combines elements of stride and ragtime in 3/4 time- one of his first forays into non-4/4 time signatures. Brubeck’s large hands let him span big block chords with his right hand while playing Some of Brubeck’s heroes were renowned for stride piano, like Duke Ellington, Earl “Fatha” Hines, Fats Waller, and Art Tatum. 1 is a progression Brubeck typically used to end a blues. Similarly, his solos were often infused with riffs drawn from the blues scale. Many of Brubeck’s classic compositions were based on blues progressions, like “Sweet Cleo Brown,” a tribute to one of his great inspirations, blues singer Cleo Brown.
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