{"id":2120,"date":"2010-07-14T01:05:00","date_gmt":"2010-07-14T08:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=2120"},"modified":"2010-07-14T01:05:00","modified_gmt":"2010-07-14T08:05:00","slug":"brubeck_company_in_belgium_par_3","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2010\/07\/brubeck_company_in_belgium_par_3\/","title":{"rendered":"Brubeck & Company In Belgium, Part 4"},"content":{"rendered":"

More or less from the beginning of their association, Dave Brubeck and Paul Desmond had an affinity for blues in minor keys. Three that achieved success to the point of indelible identification with them were “Balcony Rock,” first recorded in Jazz Goes To College<\/em><\/a> (1954), the same theme recycled as “Audrey” for Brubeck Time<\/em><\/a> (1956), and “Koto Song” from Jazz Impressions Of Japan<\/em><\/a> (1964). “Koto Song” was a new entry in the quartet’s repertoire when they played it on television in Belgium in ’64. This is the group usually referred to as the classic Dave Brubeck Quartet, with Eugene Wright, bass, and Joe Morello, drums. <\/p>\n

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Next time: the final installment of this series of DBQ pieces from Belgium.<\/p>\n","protected":false},"excerpt":{"rendered":"

More or less from the beginning of their association, Dave Brubeck and Paul Desmond had an affinity for blues in minor keys. Three that achieved success to the point of indelible identification with them were “Balcony Rock,” first recorded in Jazz Goes To College (1954), the same theme recycled as “Audrey” for Brubeck Time (1956), […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-2120","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2120","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=2120"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2120\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=2120"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=2120"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=2120"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}