A Dave Brubeck Concert

Bob Coughlin, a longtime Dave Brubeck aficionado, attended a concert by the Brubeck quartet the other night, took notes, and posted his review on the Brubeck e-mail listserve. I thought it deserved wider dissemination. The quartet has the same musicians it has had for years—Brubeck, alto saxophonist Bobby Militello, bassist Michael Moore and drummer Randy Jones. “Russell” in Mr. Couglin’s report is Russell Gloyd, Brubeck’s manager, a musical collaborator who often arranges and conducts on large-scale Brubeck projects. “Iola” is Mrs. Brubeck.
I am frequently asked how Dave is doing at eighty-five. I usually say that he’s being careful, but touring and playing as if he were twenty-five. Mr. Coughlin’s report helps bear that out. The Rifftides staff thanks him for permitting us to share it with you.

Asheville, North Carolina, Grove Park Inn–Sat., January 28

Despite what I’ve heard about Dave being exhausted, he looks great and well rested backstage. Eager to talk, same twinkle in his eyes, but the traditional fingertip handshake has been replaced by an even more prudent extended left elbow and a gentle hello bump.

Dave being carefully attended to—Russell sets up a chair with two cushions backstage and Dave tries it out—wants the same arrangement onstage.

Onstage—Dave introduces the group and says that the dicey weather has
inspired his choice of tunes.

”Gone With The Wind”—Dave opens, Bobby solos, Dave solos—solid swinging
solos but they are just warming up.

”Stormy Weather”—bluesy intro by Dave, and then Bobby opens with long, mournful notes, deliciously stretching every note for all the anguish he can find. Super solo by Michael. Iola points out that we can watch Michael’s fingering on the bigscreen TV over to the left–amazing to watch, but makes me wish the cameramen could get equally good shots of Dave’s hands.

”On the Sunny Side of the Street”—smooth, swinging intro by Dave; Bobby’s first line is a blistering uote, “Standing on the corner, watching all the girls go by,” so fast I have to question whether I heard it.

”Thank You”—Dave starts slowly–the tune is disguised in rich, classical lines. Then the main theme emerges, followed by quite a few choruses of lovely variations. But then he pauses–not sure for how many beats. 3? 4? 6? 8? The silence is striking. And Dave seems to hunch over the keyboard, pulling his hands tightly together. Ba-boom! Da-da-da-dumm! (like the explosions in Stravinsky’s Rite of Spring) Tight little volleys of gorgeous chords, amazing stuff, dazzling choruses, finally leading into sweeping lines, and then several choruses that settle down into the final theme. There was no way this could have moved into the cue for Bobby, Michael, and Randy to jump in. It had to remain a solo. (Wow—this is why we go to concerts.)

”London Flat, London Sharp”—excellent version with Bobby and Dave both blasting and then a long solo by Michael—amazingly, he keeps the energy going, despite the limitations of the bass.

”Don’t Worry ‘Bout Me” / “These Foolish Things”—Dave plays “Don’t Worry ‘Bout Me” more slowly than I’ve ever heard, reflective and sad, conjuring memories of Paul Desmond’s quiet solos. Beautiful. Segues into “These Foolish Things” and a happier mood. Great work by Bobby too, and then Michael wraps it up with a long, mesmerizing solo.

”Take Five”—Dave kicks it off, but is looking tired. Bobby carries the tune, building it up and up, and then handing it over to Randy for an extraordinary drum solo–the usual complexities but perhaps a bit more accessible than usual, culminating with several distinct rhythms chugging together and then the addition of one more pattern, which at this point seems impossible.

Abruptly, it’s over. The emcee interrupts the applause by having a birthday cake brought in and leading “Happy Birthday”—which would be what?—53 days too late?

Crud. It’s over.

—Bob Coughlin