Word: brubeck
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Dates: during 1950-1959
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...beard-and-sandal set. The poetry was usually poor and the jazz was worse, but nobody seemed to care. Record business was being done by dim little jazz spots such as the Sail'N and the Black Hawk-the Taj Mahal of West Coast jazz, where Dave Brubeck blew himself to fame. And at the Tin Angel, on the waterfront, Trumpeter Dick Mills and his combo were playing with the man who started the poetry-and-jazz trend, Poet Kenneth Rexroth. decked out in red shirt, olive green corduroy suit and black string tie. "Lord! Lord! Lord!" cried Rexroth...
...together, really, still, now, always, rotating, revolving, dancing, now, always"). The jazz accompaniments are both premeditated and improvised, but all of them are far too sketchy to stand by themselves. If the poets are sold on J. & P., most of the jazzmen are cooling on it. An exception: Dave Brubeck, who is reminded by the union of jazzmen and poets of "the Bards and Meistersingers...
Everybody was there-Roy Eldridge and Gerry Mulligan, Count Basie and Dave Brubeck, Erroll Garner and Ella Fitzgerald and a gaggle of other big-name jazz artists-as the fourth Newport (R.I.) Jazz Festival opened last week with the authority of an established institution. On opening night, there was a moist-eyed party in honor of Trumpeter Louis Armstrong's 57th birthday, which Louis ended on a sour note by blasting out The Star-Spangled Banner and stomping off stage when he found he could play only 13 numbers. Eartha Kitt undulated her way through a 15-minute dance...
...from the orchestra in the second dialogue, the audience was bouncing, the orchestra was grinning and one lady violinist was tapping out the syncopated beat with her foot. Some critics felt that the contrast between the styles of the orchestra and the combo was too great and that Composer Brubeck had written not a dialogue but a series of intersecting monologues...
...Howard Brubeck's answer: in future compositions he expects to give both the jazzmen and the orchestra far greater opportunity to improvise. Mozart. Bach and other 18th century composers, he points out, left a great deal to the performers' discretion, sometimes providing only basic themes and certain harmonies. It is high time, he feels, that U.S. composers started to follow their lead...