{"id":7807,"date":"2016-09-08T22:36:16","date_gmt":"2016-09-09T05:36:16","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7807"},"modified":"2016-09-09T06:27:24","modified_gmt":"2016-09-09T13:27:24","slug":"brubeck-trio-two-indianas-explained","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/09\/brubeck-trio-two-indianas-explained\/","title":{"rendered":"Brubeck Trio: Two &#8220;Indianas&#8221; Explained"},"content":{"rendered":"<p>Drummer, <em>Rifftides<\/em> reader and close listener Tarik Townsend expands here on his analysis of two 1949 Dave Brubeck Trio takes of \u00e2\u20ac\u0153Indiana.\u00e2\u20ac\u009d The discussion grew out of comments about&#8221;\u00a0differences between saxophonist Paul Desmond\u00e2\u20ac\u2122s Brubeck Quartet solos on the later \u00e2\u20ac\u0153The Way You Look Tonight\u00e2\u20ac\u009d from the quartet\u00e2\u20ac\u2122s Oberlin concert. Mr. Townsend explains<\/p>\n<blockquote><p>While the times, remarkably, are nearly the same, the two versions I posted are indeed two completely different takes of &#8216;Indiana&#8217;, recorded by Fantasy and their subsidiary label Cor0net. If you listen to the beginnings of both takes, you will notice a subtle difference. The recording in the first link begins with Dave modulating down as he states the opening bars, while the second link finds Dave modulating up as he states the opening bars. Again, it&#8217;s a subtle difference, but once the drums and bass come in, Brubeck&#8217;s ensuing solos are pretty different on the two takes. The trio sounds more energized and upbeat on the second link (and what I assume is the second take).<\/p><\/blockquote>\n<p><iframe loading=\"lazy\" title=\"INDIANA by the Dave Brubeck Trio 1949 JAZZ on Fantasy label 78 rpm\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/vLqcNYbVgcs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<div align=\"center\">\n<p>&nbsp;<\/p>\n<div>\n<div style=\"text-align: left;\" align=\"center\">\n<p><iframe loading=\"lazy\" title=\"INDIANA by the Dave Brubeck Trio  JAZZ!!\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/GDNJ0lypIzg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">\n<p style=\"text-align: left;\">With that settled (I hope), we can move on to jazz and other matters that have developed later than the 1940s and \u00e2\u20ac\u02dc50s. Your suggestions are always welcome. Thanks to Mr. Townsend for his hard work &#8221;\u00a0on this.<\/p>\n<p style=\"text-align: left;\">For the Desmond solo and quotes discussion, <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2016\/09\/revisiting-desmonds-full-twylt-solo.html\" target=\"_blank\">go here<\/a>.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Drummer, Rifftides reader and close listener Tarik Townsend expands here on his analysis of two 1949 Dave Brubeck Trio takes of \u00e2\u20ac\u0153Indiana.\u00e2\u20ac\u009d The discussion grew out of comments about&#8221;\u00a0differences between saxophonist Paul Desmond\u00e2\u20ac\u2122s Brubeck Quartet solos on the later \u00e2\u20ac\u0153The Way You Look Tonight\u00e2\u20ac\u009d from the quartet\u00e2\u20ac\u2122s Oberlin concert. Mr. Townsend explains While the times, [&hellip;]<\/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-7807","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\/7807","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=7807"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7807\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7807"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7807"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7807"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}