Dave Brubeck

David Warren Brubeck (/ˈbruːbɛk/; December 6, 1920 – December 5, 2012) was an American jazz pianist and composer. Often regarded as a foremost exponent of cool jazz, Brubeck's work is characterized by unusual time signatures and superimposing contrasting rhythms, meters, tonalities, and combining different styles and genres, like classical, jazz, and blues.

Born in Concord, California, Brubeck was drafted into the US Army, but was spared from combat service when a Red Cross show he had played at became a hit. Within the US Army, Brubeck formed one of the first racially diverse bands. In 1951, he formed the Dave Brubeck Quartet, which kept its name despite shifting personnel. The most successful—and prolific—lineup of the quartet was the one between 1958 and 1968. This lineup, in addition to Brubeck, featured saxophonist Paul Desmond, bassist Eugene Wright and drummer Joe Morello. A U.S. Department of State-sponsored tour in 1958 featuring the band inspired several of Brubeck's subsequent albums, most notably the 1959 album Time Out. Despite its esoteric theme and contrarian time signatures, Time Out became Brubeck's highest-selling album, and the first jazz album to sell over one million copies. The lead single from the album, "Take Five", a tune written by Desmond in 4 time, similarly became the highest-selling jazz single of all time. The quartet followed up Time Out with four other albums in non-standard time signatures, and some of the other songs from this series became hits as well, including "Blue Rondo à la Turk" (in 8) and "Unsquare Dance" (in 4). Brubeck continued releasing music until his death in 2012.

Brubeck's style ranged from refined to bombastic, reflecting both his mother's classical training and his own improvisational skills. He expressed elements of atonality and fugue. Brubeck, with Desmond, used elements of West Coast jazz near the height of its popularity, combining them with the unorthodox time signatures seen in Time Out. Like many of his contemporaries, Brubeck played into the style of the French composer Darius Milhaud, especially his earlier works, including "Serenade Suite" and "Playland-At-The-Beach". Brubeck's fusion of classical music and jazz would come to be known as "third stream", although Brubeck's use of third stream would predate the coining of the term. John Fordham of The Guardian commented: "Brubeck's real achievement was to blend European compositional ideas, very demanding rhythmic structures, jazz song-forms, and improvisation in expressive and accessible ways."

Brubeck was the recipient of several music awards and honors throughout his lifetime. In 1996, Brubeck received a Grammy Lifetime Achievement Award. In 2008, Brubeck was inducted into the California Hall of Fame, and a year later, he was given an honorary Doctor of Music degree from Berklee College of Music. Brubeck's 1959 album Time Out was added to the Library of Congress' National Recording Registry in 2005. Noted as "one of Jazz's first pop stars" by the Los Angeles Times, Brubeck rejected his fame, and felt uncomfortable with Time magazine featuring him on the cover before Duke Ellington.

Brubeck had paternal Swiss ancestry (the family surname was originally Brodbeck), and his maternal grandparents were English and German. He was born on December 6, 1920, in Concord, California, and grew up in the rural town of Ione, California. His father, Peter Howard "Pete" Brubeck, was a cattle rancher. His mother, Elizabeth (née Ivey), had studied piano in England under Myra Hess and intended to become a concert pianist. She taught piano for extra money.

Brubeck did not intend to become a musician, although his two older brothers, Henry and Howard, were already on that track. Brubeck did, however, take lessons from his mother. He could not read music during these early lessons, attributing the difficulty to poor eyesight, but "faked" his way through well enough that his deficiency went mostly unnoticed.

Planning to work with his father on their ranch, Brubeck entered the liberal arts college College of the Pacific in Stockton, California, in 1938 to study veterinary science. He switched his major to music at the urging of the head of zoology at the time, Dr. Arnold, who told him, "Brubeck, your mind's not here. It's across the lawn in the conservatory. Please go there. Stop wasting my time and yours." Later, Brubeck was nearly expelled when one of his music professors discovered that he was unable to sight-read. Several others came forward to his defense, however, arguing that his ability to write counterpoint and harmony more than compensated, and demonstrated his skill with music notation. The college was still concerned, but agreed to allow Brubeck to graduate after he promised never to teach piano.

After graduating in 1942, Brubeck was drafted into the United States Army, serving in Europe in the Third Army under George S. Patton. He volunteered to play piano at a Red Cross show; the show was a resounding success, and Brubeck was spared from combat service. He created one of the U.S. armed forces' first racially integrated bands, "The Wolfpack". It was in the military, in 1944, that Brubeck met Paul Desmond.

After serving nearly four years in the army, he returned to California for graduate study at Mills College in Oakland. He was a student of composer Darius Milhaud, who encouraged him to study fugue and orchestration, but not classical piano. While on active duty, he had received two lessons from Arnold Schoenberg at UCLA in an attempt to connect with high modernist theory and practice. However, the encounter did not end on good terms since Schoenberg believed that every note should be accounted for, an approach that Brubeck could not accept.

But, according to his son Chris Brubeck, there is a twelve-tone row in The Light in the Wilderness, Dave Brubeck's first oratorio. In it, Jesus's Twelve Disciples are introduced, each singing their own individual notes; it is described as "quite dramatic, especially when Judas starts singing 'Repent' on a high and straining dissonant note".

Jack Sheedy owned San Francisco-based Coronet Records, which had previously recorded area Dixieland bands. (This Coronet Records is distinct from the late 1950s New York-based budget label, and also from Australia-based Coronet Records.) In 1949, Sheedy was convinced to make the first recording of Brubeck's octet and later his trio. But Sheedy was unable to pay his bills and in 1949 gave up his masters to his record stamping company, the Circle Record Company, owned by Max and Sol Weiss. The Weiss brothers soon changed the name of their business to Fantasy Records.

The first Brubeck records sold well, and he made new records for Fantasy. Soon the company was shipping 40,000 to 50,000 copies of Brubeck records each quarter, making a good profit.

In 1951, Brubeck organized the Dave Brubeck Quartet, with Paul Desmond on alto saxophone. The two took up residency at San Francisco's Black Hawk nightclub and had success touring college campuses, recording a series of live albums.

The first of these live albums, Jazz at Oberlin, was recorded in March 1953 in the Finney Chapel at Oberlin College. Brubeck's live performance was credited with legitimizing the field of jazz music at Oberlin, and the album is one of the earliest examples of cool jazz. Brubeck returned to College of the Pacific to record Jazz at the College of the Pacific in December of that year.

Following the release of Jazz at the College of the Pacific, Brubeck signed with Fantasy Records, believing that he had a stake in the company. He worked as an artists and repertoire promoter for the label, encouraging the Weiss brothers to sign other contemporary jazz performers, including Gerry Mulligan, Chet Baker and Red Norvo. Upon discovering that the deal was for a half interest in his own recordings, Brubeck quit to sign with another label, Columbia Records.

In June 1954, Brubeck released Jazz Goes to College, with double bassist Bob Bates and drummer Joe Dodge. The album is a compilation of the quartet's visits to three colleges: Oberlin College, University of Michigan, and University of Cincinnati, and features seven songs, two of which were written by Brubeck and Desmond. "Balcony Rock", the opening song on the album, was noted for its timing and uneven tonalities, themes that would be explored by Brubeck later.

Brubeck was featured on the cover of Time in November 1954, the second jazz musician to be featured, following Louis Armstrong in February 1949. Brubeck personally found this acclaim embarrassing, since he considered Duke Ellington more deserving and was convinced that he had been favored as a white man. In one encounter with Ellington, he knocked on the door of Brubeck's hotel room to show him the cover; Brubeck's response was, "It should have been you."

Early bassists for the group included Ron Crotty, Bates, and Bates's brother Norman; Lloyd Davis and Dodge held the drum chair. In 1956, Brubeck hired drummer Joe Morello, who had been working with pianist Marian McPartland; Morello's presence made possible the rhythmic experiments that were to come.

In 1958, African-American bassist Eugene Wright joined for the group's Department of State tour of Europe and Asia. The group visited Poland, Turkey, India, Ceylon, Pakistan, Iran and Iraq on behalf of the Department of State. They spent two weeks in Poland, giving thirteen concerts and visiting with Polish musicians and citizens as part of the People-to-People program. Wright became a permanent member in 1959, finishing the "classic era" of the quartet's personnel. During this time, Brubeck was strongly supportive of Wright's inclusion in the band, and reportedly canceled several concerts when the club owners or hall managers objected to presenting an integrated band. He also canceled a television appearance when he found out that the producers intended to keep Wright off-camera. In January 1960, he canceled a 25-date tour of colleges and universities in the American South because 22 of the schools refused to allow Wright to perform.