Dave Brubeck (p); Gerry Mulligan (bs);
Jack Six (b); Alan Dawson (d)
Recorded on November 7, 1970
Originally released on
a single LP (with five tracks) in the U.S. and Japan in 1973 and on a double LP (with eleven tracks) in Europe in 1972. The 2005 2-CD set consists of the entire evening's performance (13 tracks).
These recordings were made on the same day
(and at the same location) as the Anita O’Day LP discussed in yesterday’s
blog entry. There must have been
something in the air that day in Berlin—because this performance by Dave
Brubeck’s trio and Gerry Mulligan soars just as high as O’Day’s. Maybe even higher!
Brubeck formed his trio with Jack Six
and Alan Dawson in 1968, after the breakup of his famous quartet with Desmond,
Morello and Wright. Shortly thereafter,
at the instigation of George Wein, Brubeck’s trio toured with “special guest” baritone
saxophonist Gerry Mulligan. The tour was
a rousing success, so they decided to continue.
However, rather than calling themselves a quartet, they continued to
bill their act as the Dave Brubeck Trio & Gerry Mulligan. By the time of this Berliner Jazztage
performance, they were an extremely tight unit.
I admit that I’ve always preferred
Brubeck’s band with Paul Desmond—and that I’m not particularly fond of Gerry
Mulligan. That said, this is an inspired
performance by all concerned. But I must make
special mention of the drumming by Alan Dawson.
Tremendous! Listening to this music,
my ear is continually drawn to Dawson’s contributions. He gives this music so much lift and fire!
I was shocked to discover that Mulligan’s
“Mexican Jumping Bean” had never been released until Sony Legacy issued the 2-CD set in 1995. It’s a rousing composition and
performance. Brubeck’s “Blessed Are the Poor” is also striking. Many
of the evening’s pieces are extroverted and dynamic, but “Blessed Are the Poor”
is the opposite. As you might expect from the title, it’s a quiet song,
but it burns with an inward intensity that never wavers throughout the entire
nine-minute performance.
One indicator of the powerful impact of
this music on the Berlin Philharmonie audience: The band performed no less than three encores. After the second encore, the band went
backstage and changed into their street clothes. But the audience refused to leave. Finally, after fifteen minutes of uninterrupted
clapping and cries from the audience for more, a harried stage manager came
backstage and asked the band to perform again.
So they returned to the stage (wearing their normal clothes) and closed
out the night with “Lullaby de Mexico,” making a not-so-subtle point that it
was time to go get some sleep!
Incidentally, this was the last record Brubeck made for Columbia. By the time it was released in the U.S. (in 1973), Brubeck had already gone. After leaving Columbia, he signed a deal with Atlantic Records. I’ve heard rumors over the years that Clive Davis, who was running Columbia in the early-70s, gave Brubeck an ultimatum: Begin using an electric piano or he would be let go. Brubeck refused, and that was that. I’m not sure whether it’s true. But I wouldn’t be one bit surprised if it was.
Interesting anecdotes, as usual. Thanks for the insights. I've had this double LP in a Canadian pressing for a few years and need to go back to listen more carefully. I always thought Mulligan and Brubeck were an odd pair, but I like them both individually so much. I recall these performances as very energetic and spurred on by the audience. I'll revisit.
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