Time Out

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Read the introduction and see the full album list here.

Dave Brubeck is gone.

So much time is spent talking about Brubeck’s one major innovation – the popularization of different time signatures in jazz – that too little is taken to discuss the largely self-contained beauty of his music. As Ethan Iverson points out at Do The Math, Brubeck was one of the only major pianists to never record as a sideman; and although some of his tunes became standards, Brubeck’s own work sits apart.

Perhaps it is because Brubeck never was a jazz musician. His musical goals never seemed to be quite the same as his contemporaries in the jazz world – or, for that matter, in the classical one.

It’s lamentable that so many focus on Paul Desmond, but it isn’t surprising. The image of Brubeck is a great one for those looking for ”easy jazz.” It’s popular, lyrical, and there are enough complexities (the time signatures) for a jazz newbie to survive for a while among afficianados.

But that train seems to have left without Brubeck. Why else would ”Take Five” be the automatic RIP track for Brubeck? And, while Time Out is a beautiful record, why have I only seen so few talk about, say, ”Strange Meadowlark”? 

In the 1960s and 1970s, Brubeck was often a principle character in the conflict between the ”real” – black – jazz of the East Coast and the ”fake” – white – jazz of the West Coast. He’s perfect for it – a Milhaud-trained, square-sounding pianist seemingly more committed to finding the least-hip rhythm or the most cluttered chord. Martin Williams, for one, hated him  – not least because he became popular while black musicians struggled to get by.

Now, we’re all pretty much agreed that white jazz musicians can play the music well, even if they can’t, and shouldn’t, claim authenticity over black innovators. And, with hindsight, we can see that all that conflict around Brubeck misses the point.

That point is that Brubeck minded his own business for ninety-one years. He weathered storms, rode waves, and made great music for decades. He was a gentle man who loved what he did and loved the musicians he did it with; the cared deeply about the traditions of all music, but wasn’t afraid to bend the rules. And he never let anyone get him down.

Dave Brubeck is gone. But his music will never leave.

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