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I am. I am. I am. I am.
The multi linear member of his ations of Chet Baker trumpet Gerry Mulligan
baritone Curtis and Smith bass and Chico Hamilton drums on any original melodic for line call line for lions. The voice of Elmo as Lee comments was added in one recording session.
If if. How.
As an example of another contemporary perspective on jazz. This is the work of Juilliard Graduate Tony Scott who also has an extensive background in professional jazz and I performance recorded in the course of the day. Now the NIO of an evening's work with Dick Catspaw piano Milton Hinton bass Hinton a veteran jazz bass player who was with Cab Calloway for many years and evolved along with the language and is now one of the better contemporary bassist and Philadelphia Joe Jones and this was written by pianist Dick Katz and it's called with appalling pun usage the cat's meow.
The cannon for cats. Oh. So when it. Was us it was us. Would. The big. Boobs. Get.
The but would. It. Be good. Would. The tube. It. Would. Gibbs. It. Would. And. It. Was. It. Was. It was. It was. The cause but. The boy was OK. Yeah. Yeah was. Was.
Was. OK. But. Was. Ok it. Was. OK. The band was. The out of the box was the question with the question the buoy was
ent. Thank you out the car. Thanks. Oh OK. OK. OK. OK. OK. OK. OK. OK. OK. OK. OK.
OK. It's interesting you know this was recorded in February of 1953 at Minton's Playhouse in Harlem. Which indicates that experimentation is still going on there as it did in 40 and 41 in the early days of Bach. Obviously these forums that we've been hearing in the past two or three like yours are rather simple. In this the beginning synthesis of temporal impro improvisation story jazz in extended form in a later lecture I'll play some of the more complex beginnings. There was also the recording group led by the guitarist Johnny Smith Smith as a prototype as is Tony Scott and many others of the younger kind of contemporary jazz man.
He's a musician of extensive formal as well as jazz bank around who can play the most demanding classical music. But is fluent as well in the jazz idiom. You can swing and can improvise on a jazz bass. Since being in New York for example Johnny has played for us trumpet and guitar with all groups of the NBC musical staff has arranged and played with Benny Goodman recorded a soon to be released record with Gene Krupa. Was featured for several years with Paul the band recorded two operas in bags about sex with Dimitri Mitropoulos and Schoenberg serenade. Also directed by Metropolis has played with the City Center Opera Company and the NBC symphony as well as going to conducting his own groups at NBC and writing and conducting different radio and television shows. Out of this diversity of experience Johnny has emerged as a complete musician at home in any one of a number of musical forums. And again one who can improvise in the jazz language. Here with Stan Getz says his version which you might find interesting to contrast with that of the Jerry Mulligan
group of moonlight in Vermont. Another aspect of the Johnny Smith approach to jazz is this original again with Stan
Getz. He's a frenzy based on them on drums and Sanford gold piano it's called Jaguar. And. Another classically trained jazz man whose Oscar Peterson who is thoroughly in-context
in jazz and has been very much influenced by Art Tatum. He calls this with mild paradox nameless face. I am.
I am. I am. I am. I am. I am. I am. I am. I am. As a preface to the first part of next week's lecture jazz in Europe here's a group of outstanding
contemporary sweetest jazz men Ralph Erickson trumpet occupy some trombone colonic nor intent aren't especially fond of narrow sound oh best getting down to tone bang Talbott piano with Roth beggared Cmon Brown bass and Jack Norton drums in what was originally as we did folk songs with his butterfly it's played straight for us by pianist Heidelberg who incidentally also has extensive classical background and then as there is a dad with a. S.
S s s s s. S s s s s s s s. You have been listening to the evolution of jazz a recorded series prepared and produced by Nat Hentoff under the auspices of Northeastern University and presented by the Lowy Institute cooperative broadcasting Council. The hour you should know jazz was recorded in the Boston studios of WGBH Af-Am. This is the national educate you know radio network.
The Evolution of Jazz
Episode Number
Dave Brubeck, Part Two
Producing Organization
WGBH Educational Foundation
Contributing Organization
University of Maryland (College Park, Maryland)
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Episode Description
This program focuses on the music of pianist Dave Brubeck.
Series Description
Jazz historian Nat Hentoff presents a series that traces the history of jazz, from its musical and cultural roots to its contemporary forms. "The Evolution of Jazz" was originally broadcast from WGBH in 1953-1954, and was re-broadcast by the National Educational Radio Network in 1964.
Broadcast Date
Asset type
Jazz musicians--United States--Biography.
Media type
Embed Code
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Host: Hentoff, Nat
Producer: Hentoff, Nat
Producing Organization: WGBH Educational Foundation
AAPB Contributor Holdings
University of Maryland
Identifier: 55-32-36 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:29:25
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Chicago: “The Evolution of Jazz; 36; Dave Brubeck, Part Two,” 1954-07-16, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed July 25, 2024,
MLA: “The Evolution of Jazz; 36; Dave Brubeck, Part Two.” 1954-07-16. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. July 25, 2024. <>.
APA: The Evolution of Jazz; 36; Dave Brubeck, Part Two. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from