Customer Reviews

Jazz Goes to College

5 star:		(16)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This one of Brubeck's (and of course Desmond's -- where would the quartet be without him?) greatest recordings -- much truer to real jazz than the programmed formulaic "Time Out"/"Time In"/Time Anywhere series. This one is on a par with the fine "Jazz at the College of the Pacific," where drummer Joe Dodge creates a very different swing for the group than he does here, or as the smoother Joe Morello did for the group later. Morello brings me, however, to the other classic -- "Jazz Goes to Junior College" -- which INEXPLICABLY is still not available. Why not?? Desmond's fabulous solo on "Bru's Blues" on "Junior" is on a par or better than "Balcony Rock" here. Is Sony really so broke that they cannot add this classic to the Brubeck CD shelf? At least to make the three college concerts a series.....now there's a marketing plan for them!!

This was the record with which Brubeck first reached a very considerable group of new jazz listeners - often new to jazz, and certainly to him. And delighted they were. These listeners were not, on the whole, prejudiced in their attitude to what jazz should sound like, which is just as well, for this is not music for those who believe in narrowly defined divisions between "jazz" and "classical". Brubeck himself in particular takes off in all sorts of directions. Not all of his excursions are equally unified, but he does interesting things most of the time, and there is no doubt that he IS, predominantly, a hard-swinging jazzman. Paul Desmond is in legendary form here. Listen to him for instance on "Take the 'A' Train", that great jazz classic which was made most famous by Duke Ellington and which here appears in a totally new guise. Few saxophone players of any time could or can produce such a beautifully executed, logical and melodious solo as Desmond effortlessly yet delicately sustains here. His is one of the most naturally musical talents in jazz, even though he certainly played nothing like "hard bop". This whole record is a delight to own and to listen to, often with great excitement, again and again. It provides great pleasure, though perhaps not huge depth. - Joost Daalder

Back in 1958, when I was starting my love affair with jazz music -it's still going on strong- This was THE record that really flipped me! I still have my vinyl copy. I memorized the WHOLE of Balcony Rock, believe it or not, and I am still able to follow it now, many moons later.

If there's an ESSENTIAL jazz recording, THIS IS DEFINITELY ONE.

In 1954, I sat in Ann Arbor's Masonic Temple one evening and listened to this freshman's newest, musical hero, Dave Brubeck. One or two numbers from that night's program became a part of this album which, in turn, formed a leg of the tripod for the burgeoning career of the Brubeck Quartet. The other two legs consisted of their "College of Pacific" and "Oberlin" albums. I had become addicted to jazz while in high school, but that night's audience --and others that followed during the 50's-- consisted of a great many for whom Brubeck had become their missionary for a jazz conversion.
It is still amazing to consider that people who might not have responded to Armstrong, Basie or Ellington, became feverish upon hearing the complex flights of Brubeck, Desmond, et al.
And this member of a musical breed not always well regarded by American audiences was placed on the cover of a very conservative Time Magazine, even before attaining iconic status.
If Brubeck holds an enduring place in your jazz collection, then you are obliged to immediately add "Oberlin" to that library. It was the LP (now on CD) that brought the East Coast jazz masses to worship at Brubeck's pedals -- and the Quartet never recorded anything better!
One other note before I go: Before there was the Quartet, there was the Trio, which recorded on the Fantasy label. No Desmond sax, but much of the stimulating rhythms of Cal Tjader. If you're a collector, you might want to pick up a copy of the CD, "Dave Brubeck Plays Standards."

This album hardly needs a review for anyone who knows the output of Brubeck and company. It's great, top to bottom. I submit this, really, in hopes that someone will heed a call for reissue of an even greater album - Brubeck's Jazz Goes to Junior College. For years I have periodically checked for a CD reissue of that one, my all-time favorite of the quartet. What will it take to have that happen? RKC

I first heard of this album 32 years ago when I was a senior in high school. Station WSDM in Chicago had what we would now call a "lounge" format and played a lot of good jazz. One evening around 10:00 PM the late Yvonne Daniels played "Balcony Rock" from this album. After 11 minutes of wonder came out of my speakers, she opened the studio mic and said "do you by any chance remember that?" From that moment on I never forgot it. I finally bought a used copy a year later, and wound up with 3 or 4 additional copies of the LP version, including one I was fortunate to have signed by Dave Brubeck himself. Paul Desmond supposedly said that he wanted his playing to sound like a "dry martini." This album really is 6 parts gin and 1 part vermouth! If you want to understand the Dave Brubeck, start here. It's the perfect introduction to a satisfying musical journey.

Years after my dad died, I inherited his collection of jazz LPs. This album was one of the gems of the bunch. It features a Brubeck- and Desmond-led quartet appearing before an enthusiastic Oberlin College audience and captures the spirit of the late 1950's-early 1960's jazz community perfectly. As Desmond and Brubeck lilt their way through alternating melodies, as the audience claps approvingly after each solo, you may find yourself with closed eyes, bobbing your head side to side, imagining yourself in a funky little coffee shop, sporting a small, black beret, balancing a set of bongo drums between your knees.

I first heard these tunes in the late 50's on my old 45 rpm record player. "Balcony Rock" was not included probably due to it's length, so it's new to me, but what a treasure! Even though the group enjoyed much success with the later "Time" series, this CD clearly displays the heart and soul of the quartet. Brubeck and Desmond are at their best with their beautiful solos on "Don't Worry about me." It's said that Desmond played better when he was mad. If that's true, he must have been livid! This CD is a must-have for any Jazz fan. Truly remarkable.

When I was born in 1960, this was my mom's favorite record. She was so nuts about it that she wanted to bring a record player with her to San Francisco General to help her concentrate with the delivery. Unable to be accommodated, she instead began to play the romping tune "Le Souk" in her head. Years later as a teenager in the 1970s, I became a fan of my mom's jazz records and particularly liked Brubeck's "Jazz Goes to College," especially the tune "Le Souk." It was only after my expression of really digging that tune that my mom told me the story of my birth. Aside from my own particular prejudice, this record really stands out as a "swinging" record from the "cool" jazz period. It gets your toe tapping, and, I suppose, is great for regulating one's breathing.

Certainly Time Out is a great album, as are just about all the Brubeck albums, but to me, this early album (1954) is the Brubeck to get first. This is completely fresh and unique jazz improvisation that to my ears goes deeper than just about anything else in the cool jazz/west coast school of the 50s. Paul Desmond sounds absolutely inspired, and everyone in the group sounds as if they are totally on the same page. It even seems that the audience is listening with bated breath, absolutely in synch with what this group is doing. This music seems to float, sounding like a perfect dry martini (which is, I think, a common metaphor to describe Paul Desmond's alto sax sound). This even holds true when Desmond throws in elements that sound to my ears almost atonal, and perhaps these aspects of his playing are why Anthony Braxton cites him as a central influence.

My only complaint is that I wish Columbia Records would release a remastered version of this CD!