Monterey Jazz Festival: The Dave Brubeck Quartet
The average age on stage during the Dave Brubeck Quartet’s performance was somewhere around 70, but they played with a speed and flexibility that most 25-year-olds couldn’t master, and with the maturity and insight that only so many years playing jazz can bring. Throughout the Dave Brubeck Quintet’s set, the music was melodic and accessible without being out of date.
Dave Brubeck. Photo by Mike Rainey.
Brubeck’s music features figures from the past filtered through Brubeck’s unique, modern voice. While other acts pull in reggae and ska, Brubeck extends the reach of greats like Schubert, Rachmaninov and Debussy.
The Dave Brubeck Quartet. Photo by Mike Rainey.
What Brubeck doesn’t play is as important as what he does play. He could make it all about his piano playing, but he doesn’t. He’s a generous performer, leaving the space for drummer Randy Jones to show off his effortless skill at intricate tempo changes, Bobby Militello to show his fleet fingers on both flute and saxophone, and Michael Moore to show his startling fluidity on the bass. When other artists are soloing, Brubeck’s attention is totally focused on them. He listens to what they play and responds to it, and as a result the music sounds like a conversation being held between instruments.
Dave Brubeck and Bobby Militello. Photo by Mike Rainey.
And then they brought down the house with Take Five, making it sound as fresh and original as when it was released.
For more coverage of the Monterey Jazz Festival, see our Monterey Jazz Festival category.
1 comment
Hi – great article on the Brubeck thing at the MJF – I have to confess that I almost didn’t go to see their set, I thought that Dave was just getting a little old to really be able to play something great, I I didn’t want to see that happen. I was totally wrong, it was my fav set there other than Scofield’s Piety St. Band. Bobby Militello was just wonderful with his sound but also his beuatiful ideas an execution, he totally sings though his instrument, and Michael Moore had a better sound and intonation on acro bass than most every symphonic bassist I have heard.
I HAVE to find out what that ballad that they played where Bobby played flute was, that was stunningly beautiful. It seemed like maybe it was one of Duke’s things for the symphonic work he did, but I don’t know – gotta find out, though.
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