{"id":7123,"date":"2015-11-29T17:50:33","date_gmt":"2015-11-30T01:50:33","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7123"},"modified":"2015-11-29T17:54:35","modified_gmt":"2015-11-30T01:54:35","slug":"dan-brubeck-quartet-at-the-seasons","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/11\/dan-brubeck-quartet-at-the-seasons\/","title":{"rendered":"Dan Brubeck Quartet At The Seasons"},"content":{"rendered":"

Dan Brubeck, the drummer among Dave Brubeck\u00e2\u20ac\u2122s five musician sons, took his own quartet into The Seasons Performance Hall in Yakima, Washington, last night. As did his band\u00e2\u20ac\u2122s recent album, the concert paid tribute to his father and to his mother, Iola, who wrote memorable lyrics to a number of her husband\u00e2\u20ac\u2122s melodies. The quartet includes pianist Tony Foster, alto and tenor saxophonist Steve Kaldestad and bassist Adam Thomas. <\/p>\n

\"Dan<\/a><\/p>\n

Introducing the band, I mentioned Iola\u00e2\u20ac\u2122s answer when I asked her years ago what Danny was like as a little boy. I recalled that she gazed into the distance, silent for a few seconds, then smiled and said, \u00e2\u20ac\u0153Hell on wheels.\u00e2\u20ac\u009d The audience saw and heard evidence in his solos on \u00e2\u20ac\u0153Blue Rondo a la Turk,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Jazzanians,\u00e2\u20ac\u009d and especially on \u00e2\u20ac\u0153Take Five,\u00e2\u20ac\u009d that he retains that aspect of his personality. Playing to a substantial holiday weekend audience, the quartet poured energy and ebullience into those and other up-tempo pieces. On quieter numbers, Brubeck was lyrical in the use of wire brushes.<\/p>\n

Bassist Thomas has a high, clear voice. Playing acoustic bass as he sang, he found the emotion in Iola\u00e2\u20ac\u2122s words to \u00e2\u20ac\u0153Weep No More,\u00e2\u20ac\u009d the nostalgia in \u00e2\u20ac\u0153Summer Song\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Autumn in Our Town,\u00e2\u20ac\u009d the razzle-dazzle in \u00e2\u20ac\u0153It\u00e2\u20ac\u2122s a Raggy Waltz,\u00e2\u20ac\u009d the humor in \u00e2\u20ac\u0153Ode to a Cowboy.\u00e2\u20ac\u009d Foster\u00e2\u20ac\u2122s keyboard technique and speed were impressive; so, too, his willingness to back off from technique and use expressive silence. On both of his horns, Kaldestad played with an original conception and, happily, moments when he seasoned his originality with references to the jazz canon. He made a double bow to Duke Ellington and John Coltrane with a quote from Ellington\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Take The Coltrane.\u00e2\u20ac\u009d <\/p>\n

For a Rifftides<\/em> review of the Dan Brubeck Quartet\u00e2\u20ac\u2122s Live From The Cellar<\/em> album, go here<\/a>. <\/p>\n","protected":false},"excerpt":{"rendered":"

Dan Brubeck, the drummer among Dave Brubeck\u00e2\u20ac\u2122s five musician sons, took his own quartet into The Seasons Performance Hall in Yakima, Washington, last night. As did his band\u00e2\u20ac\u2122s recent album, the concert paid tribute to his father and to his mother, Iola, who wrote memorable lyrics to a number of her husband\u00e2\u20ac\u2122s melodies. The quartet […]<\/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-7123","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7123","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=7123"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7123\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7123"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7123"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7123"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}