In 1954 popularity and controversy swirled around Dave Brubeck. On one hand, his appeal on college campuses brought him great notoriety,...... more
In 1954 popularity and controversy swirled around
Dave Brubeck. On one hand, his appeal on college campuses brought him great notoriety, culminating with his appearance on Time magazine's November 8 cover--hence the record's title. On the other hand, many musicians and critics dismissed his cool-toned, classically influenced cerebral work as decidedly non-jazz, and they were resentful of the acclaim. The recordings on this record, their first studio effort for Columbia, suggest that
Brubeck and alter ego Paul Desmond felt they had something to prove. Most of the songs are up-tempo, buoyant and energetic, especially for the "cool"
Brubeck. His quartet, anchored by Bob Bates and Joe Dodge, swings softly but firmly on a collection of six standards and two originals. At its best,
Brubeck's group had a potent drive and pulse, even though those qualities were often subtle, submerged or implied. Desmond's alto work is playful and childlike; his airy and jumpy lines are sublimely lyrical, humorous, well constructed and chock-full of pithy quotes. Desmond's alto was the perfect foil for
Brubeck's serious, angry and tense piano. The two display a tremendous rapport whether it be through contrapuntal lines or call and response. One original, "Stompin for Mili", named for photographer and film-maker Gjon Mili, generates as much heat as any
Brubeck recording. Mili, who'd expressed strong doubts as to the quartet's worth, was present in the studio when it was recorded, and
Brubeck himself calls the song a "musical expression of rage and frustration". --Marc Greilsamer
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