Brubeck's Jazz Has Charm, Freshness

Press, Volume CI, Issue 29791, 6 April 1962, Page 13

Brubeck's Jazz Has Charm, Freshness

A taste of the qualities which have made Dave Brubeck one of the most famous jazzmen in the world was made available in Christchurch last evening, when Brubeck led his quartet in two concerts in the Majestic Theatre. Brubeck, who will play in Auckland and Wellington later in the week before returning to the United States, was making his first appearance in the South Island. At the second concert, Brubeck and his two colleagues kept the big audience hushed for an hour, and at the end took two curtain calls amid applause which continued for more than five minutes.

Brubeck’s music was not hard to assimilate, but it had depths which the casual listener could easily have overlooked. The predominant first reaction to it was one of bewilderment—-blockily-voiced chords would alternate with little rippling runs, a snatch of almost serene melody would appear then drift away, and stiff, wooden rhythms would suddenly give way to looser, relaxed ones.

It was not "swinging” music in the sense that the piano playing of Oscar Peterson (who has also appeared in Christchurch) was. but it is unlikely it was intended to be. It had different merits of its own.

One of these w’as a hard-to-define sense of structure which attended the solos of both Brubeck and Paul Desmond; others were its charm and its melodic freshness Desmond, as always, was a model of good taste. He lectured mildly down his saxophone like a philosophy graduate delivering a thesis, but instead of a new Critique of Reason he delivered a flow of burnished. beautifully cohesive melody. Brubeck’s best moments were on his opening number, "St. Louis Blues.” “Waltz Limp” from his ballet “Points on Jazz" and the final number, “Blue Rondo A La Turk.” The latter was an intriguing piece which began in 3 8 time and reverted to 4 4 for the improvised passages. Brubeck’s solo built nicely to a well-judged climax.

The ‘‘St Louis Blues” also built nicely to a climax, after

alternating stiff, formalised phrases with looser, almost "funky” ones. “Waltz Limp” had an intriguing passage which featured a rippling melody ill the right hand over tightlyvoiced chords in the left hand. “Pivot” Of Group Throughout the evening, the drummer Joe Morello fulfilled an essential function within the group with crisp professionalism. He was more than just a timekeeper—much of the time he could have been accurately described as a pivot. On one number (“Countdown”) he succeeded in “carrying” the melody on his drums by the judicious use of his wrist and elbow on the snare. Gene. Wright, the bassplayer. one of the most unobtrusive of musicians, did function as a timekeeper, but also provided a firm harmonic base.

Appearing with the quartet were an American singer. Miss Laurie Loman, and' a New Zealand sextet from Auckland, led by Bob Gillett.

Miss Loman proved herself to be a thoroughly competent professional, although in the early stages of her appearance at the 8.30 concert (which was the one under review) she had a few pitch problems. On at least one number, however, she was very nearly superb. That was “Mood Indigo,” a Duke Ellington tune, on w-hich she displayed sensitivity, taste and even quiddity.

After a ragged start, Gillett’s sextet performed adequately. It featured Gillett (alto saxophone). Murray Tanner (valve trombone and trumpet), Derek Neville (baritone saxophone). Crombie Murdoch (piano). Les Still (bass) and Don Branch (drums). —D.W.R.