Dave Brubeck

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风格: #冷爵士　#爵士
地区: United States of America 美国

艺人介绍

爵士的魅力很大程度上在于它是一门表达情感与情绪的艺术。许多爵士乐手一生都在述说着人世间的喜、怒、哀、乐。爵士乐需要的是一种亲和力，正是这样一位貌似平凡的充满阳光般喜悦的人Dave Brubeck缔造了爵士乐坛最为本色的声音。

Dave Brubeck是唯一一位赢得国际声誉的西海岸风格的爵士钢琴手。他的作品中充满了古典音乐的痕迹，虽然他也跟著名的作曲家Darius Milhaud学习过作曲，但Dave Brubeck并不能算是真正意义上的古典钢琴家，他只是把古典的理论用于编曲与即兴演奏。除了是一名杰出的钢琴演奏家外，Dave Brubeck还是一位伟大的作曲家。他的作品结构简洁、旋律悦耳、编排精巧，给人以持久的新鲜感，难怪有人把他的音乐称为爵士乐与流行乐的完美组合。

Dave Brubeck四重奏成为了爵士乐的瑰宝，而同样能体现Dave Brubeck个性与才华的还有他的独奏作品。然而他的独奏作品大部分是在家中完成的，于是作品的画龙点睛之处便具备了即兴与真情的实感，这才使得Dave Brubeck的音乐长盛不衰。作为COOLJAZZ更是西海岸爵士的代表，Dave Brubeck用不懈的努力来证明自己的确实并非徒有其名。作为一个白人爵士艺人，Dave Brubeck学院派的气质是许多黑人兄弟无法比拟的。这就是Dave Brubeck比许多爵士乐手更COOL的本质区别。他的作品更内省，更孤独[请原谅我用这个词]。于是，爆发式的狂放即兴被带古典气质的急速行板所代替。对于传统爵士乐迷来说，这种带着强烈个人魅力的曲风是不可多得的纯净之音。

如果说在70年代之前是老迈的COOL具有代表性。那在这之后， Dave Brubeck　无疑用行动证明，他才是最后的胜利者。他就是20世纪最后的COOL派大师。他的演艺生涯是如此漫长。有人说，活着是一门学问。活得长久是一门艺术.

by Scott Yanow

Dave Brubeck has long served as proof that creative jazz and popular success can go together. Although critics who had championed him when he was unknown seemed to scorn him when the Dave Brubeck Quartet became a surprise success, in reality Brubeck never watered down or altered his music in order to gain a wide audience. Creative booking (being one of the first groups to play regularly on college campuses) and a bit of luck resulted in great popularity, and Dave Brubeck remains one of the few household names in jazz.

From nearly the start, Brubeck enjoyed utilizing poly-rhythms and poly-tonality (playing in two keys at once). He had classical training from his mother, but fooled her for a long period by memorizing his lessons and not learning to read music. He studied music at the College of the Pacific during 1938-1942. Brubeck led a service band in General Pattons Army during World War II and then, in 1946, he started studying at Mills College with the classical composer Darius Milhaud, who encouraged his students to play jazz. During 1946-1949, Brubeck led a group mostly consisting of fellow classmates, and they recorded as the Dave Brubeck Octet; their music (released on Fantasy in 1951) still sounds advanced today, with complex time signatures and some poly-tonality. The octet was too radical to get much work, so Brubeck formed a trio with drummer Cal Tjader (who doubled on vibes) and bassist Ron Crotty. The trios Fantasy recordings of 1949-1951 were quite popular in the Bay Area, but the group came to an end when Brubeck hurt his back during a serious swimming accident and was put out of action for months.

Upon his return in 1951, Brubeck was persuaded by altoist Paul Desmond to make the group a quartet. Within two years, the band had become surprisingly popular. Desmonds cool-toned alto and quick wit fit in well with Brubecks often heavy chording and experimental playing; both Brubeck and Desmond had original sounds and styles that owed little to their predecessors. Joe Dodge was the bands early drummer but, after he tired of the road, the virtuosic Joe Morello took his place in 1956; while the revolving bass chair finally settled on Eugene Wright in 1958. By then, Brubeck had followed his popular series of Fantasy recordings with some big sellers on Columbia, and had appeared on the cover of Time (1954). The huge success of Paul Desmonds Take Five (1960) was followed by many songs played in odd time signatures such as 7/4 and 9/8; the high-quality soloing of the musicians kept these experiments from sounding like gimmicks. Dave and Iola Brubeck (his wife and lyricist) put together an anti-racism show featuring Louis Armstrong (The Real Ambassadors) which was recorded, but its only public appearance was at the Monterey Jazz Festival in the early 60s.

The Dave Brubeck Quartet constantly traveled around the world until its breakup in 1967. After some time off, during which he wrote religious works, Brubeck came back the following year with a new quartet featuring Gerry Mulligan, although he would have several reunions with Desmond before the altoists death in 1977. Brubeck joined with his sons Darius (keyboards), Chris (electric bass and bass trombone), and Danny (drums) in Two Generations of Brubeck in the 1970s. In the early 80s, tenor saxophonist Jerry Bergonzi was in the Brubeck Quartet, and beginning in the mid-80s, clarinetist Bill Smith (who was in the original octet) alternated with altoist Bobby Militello.

There is no shortage of Dave Brubeck records currently available, practically everything he cut for Fantasy, Columbia, Concord, and Telarc are easy to locate. Brubeck, whose compositions In Your Own Sweet Way, The Duke, and Blue Rondo a la Turk have become standards, remained very busy (despite some bouts of bad health) into the 2000s.

Dave Brubeck　戴夫·布鲁贝克

艺人介绍

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最新简评（共153条）

Dave Brubeck 戴夫·布鲁贝克

艺人介绍

热门评论

最新简评（共153条）

Dave Brubeck　戴夫·布鲁贝克