Brubeck Time
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 onTimemagazine'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 nonjazz, and they were resentful of the acclaim. The recordings on this record, their first studio effort for Columbia, almost seem as if Brubeck and alter egoPaul Desmondhave 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 they 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 filmmaker 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." Some collectors might prefer the older compilationInterchanges '54, which includes the fullBrubeck Timeand four songs from the out-of-print live setJazz: Red, Hot and Cool.--Marc Greilsamer