I know he 's not quite appreciatted among jazz afficionados, but I really enjoy listening to his muisc, i think what we did was use jazz as a catalyzer, to create a free form of expression combining ethnic music, classical music and popular music.

jazz impressions of eurasia is by all means a great album. paul desmond and joey morello were outstanding there.

They were a good group and had some excellent recordings; however, not a top eschelon group. You had two members who were some of the best on their instrument, one who was a solid player, and a hack on piano.

Having said that, Paul Desmond was DA MAN. You take Desmond out of that group and they were a completely different and less interesting group. You also wouldn't have the most famous song associated with that group, Take Five. That was a Paul Desmond song. You take out Joe Morello, as well and their is no point at all in listening to Mr. Dullsville playing piano. At best he was a heavyhanded two fister, who was/is limited to block chord playing.

Not that all block chord piano players are dull, I give you one Red Gardland. Recorded a few things with some hacks named Bird, Miles, and Coltrane.

Brubeck's heavyhandedness on the piano just drives me crazy, most of the time.

It was because of DA MAN and Morello that all those crazy time signature recordings were possible. In fact, one of Anthony Braxton's biggest and first influences was DA MAN.

Only handul of sax players had/have the wit and ability to quote songs into their solo, the way Da Man was able to.


If listing the importantance of the members of the "classic" quartet, they would be:


Da Man
Joe Morello
Eugene Wright
Mr. Dullsville


The old joke about Brubeck was that his playing was so predictable, that it was "as safe as IBM."


I don't own a single Brubeck recording, which doesn't include DA MAN.

On Take Five, Desmond and Morello are laying down wicked solo's in a song, which is in 5/4. In the meantime, Brubeck is vamping throughout.

brubeck couldn't be that bad if desmond and morello choosed to play with him...not enteriley buying your story satchs

Brubeck is okay. I put on Time Out once and awhile.

As long as your house is chock-full of Mingus you can have whatever you want. I have a Wallflowers CD that someone gave me...BUT IT'S OKAY 'CAUSE I'M CHOCK-FULL OF FRICKIN' MINGUS.

Understand?

Actually, I always thought Eugene Wright had one of the easiest jobs in jazz , but I have only heard Time Out and Time Further Out.

The money was great, why wouldn't they hang around? Except for a few Jazz musicians in the 50's and 60's, not many were making the kind of money they could get with the Brubeck Quartet. Brubeck himself, basically coasted and has been milking that Quartet ever since. In fact, it was DA MAN who was the one that convinced Brubeck to go from a trio to a Quartet, in the first place.

You think, that their the first musicians to hang around in a group they didn't care for, just for the money. They were not the first and they sure as hell were not the last.

You know how it goes, the Brubeck gig was to pay the bills, and other things was to satisfy the soul. Sometimes, you have to dance with the Devil, to get anywhere.

I wasn't saying he was Mingus or anything, but it's another story, when compared to Brubeck.

I have all Mingus', but somehow no Wallflowers.

You're really missing out.