Way You Look Tonight - Dave Brubeck, Fields, Dorothy
Love Walked In - Dave Brubeck, Gershwin, George
What Is This Thing Called Love? - Dave Brubeck, Porter, Cole
September in the Rain - Dave Brubeck, Dubin, Al
Prelude - Dave Brubeck, Tipton, Glenn
Fugue on Bop Themes - Dave Brubeck, VanKriedt, Dave
Let's Fall in Love - Dave Brubeck, Arlen, Harold
Ipca - Dave Brubeck, Smith, William [7]
How High the Moon - Dave Brubeck, Hamilton, Nancy
Serenade Suite - Dave Brubeck, VanKriedt, Dave
Playland at the Beach - Dave Brubeck, Brubeck, Dave
The Prisoner's Song - Dave Brubeck, Massey, Guy
Schizophrenic Scherzo - Dave Brubeck, Smith, William [11]
Rondo - Dave Brubeck, Brubeck, Dave
I Hear a Rhapsody - Dave Brubeck, Baker, Jack [1]
You Go to My Head - Dave Brubeck, Coots, J. Fred
Laura - Dave Brubeck, Mercer, Johnny
Closing Theme - Dave Brubeck, Brubeck, Dave
The listener has to forgive a few things about this undeniably brilliant collection of Dave Brubeck's first big ensemble. First: the liner notes' pretentions. Brubeck announces there that between 1946, when some of these t... more »unes were recorded, and 1956, when the tapes were first "reissued" on LP, "very few released recordings" have "more musical importance" than the octet. Second: the nearly seven minutes of "How High the Moon" narrated to show how jazz was formed, as the band plays in short demonstrative segments. Third: the audio vérité sound, which even Brubeck thought questionable in 1956. Hearing this dynamic set, though, makes forgiveness easy. The arrangements show a wild abundance of color and orchestral finesse (many of the group's members were, like Brubeck, students of Darius Milhaud). You get quick-clip swingers like "The Way You Looked Tonight" and the string of chamber-esque horn studies that includes "Schizophrenic Scherzo" and more. You also get to hear early Paul Desmond and William O. Smith bouncing ideas off each other and drummer Cal Tjader. And it's all a delight, especially with the magnanimity of "forgiving" Brubeck. --Andrew Bartlett« less
The listener has to forgive a few things about this undeniably brilliant collection of Dave Brubeck's first big ensemble. First: the liner notes' pretentions. Brubeck announces there that between 1946, when some of these tunes were recorded, and 1956, when the tapes were first "reissued" on LP, "very few released recordings" have "more musical importance" than the octet. Second: the nearly seven minutes of "How High the Moon" narrated to show how jazz was formed, as the band plays in short demonstrative segments. Third: the audio vérité sound, which even Brubeck thought questionable in 1956. Hearing this dynamic set, though, makes forgiveness easy. The arrangements show a wild abundance of color and orchestral finesse (many of the group's members were, like Brubeck, students of Darius Milhaud). You get quick-clip swingers like "The Way You Looked Tonight" and the string of chamber-esque horn studies that includes "Schizophrenic Scherzo" and more. You also get to hear early Paul Desmond and William O. Smith bouncing ideas off each other and drummer Cal Tjader. And it's all a delight, especially with the magnanimity of "forgiving" Brubeck. --Andrew Bartlett
"I didn't care for this disc but I'm not panning it altogether because the playing is first rate and the ideas are innovative and ahead of their time. I just don't care for the music - it's more a matter of personal taste. These 18 tracks, recorded in 1946 by the Dave Brubeck Octet, feature a good deal of experimental (for the period) "chamber jazz" based on some standards as well as original compositions. On one track, an announcer actually narrates as the group goes through a series of variations on How High The Moon, from early jazz form to bop. Interesting stuff, intellectually stimulating but not very fun to listen to. I'm just a traditionalist...it's gotta swing! Recommended for serious students of jazz and history buffs only. If you're looking for some swinging jazz octet, check out Dave Pell or Don Fagerquist."