o10, pleased to see you passed through another valley. May you now find a hilltop to rest upon and look around, enjoying all you see and hear.
Brubeck: long one of my favorite musicians, but not without controversy. In my earliest days as a developing jazz fan he received lots of criticism simply because (I believe) he was so popular. I think that generated a lot of resentment, in some part racial. For me he could swing hard or show beauty and lushness in a ballad. His experiments with time and meter went beyond what anyone else I knew of. Certainly some musicians can be accused of riding the coattails of style or technique developed by others, but I don’t believe that could ever be said of Brubeck. And I find much of his music simply fun.
pjw, I fully agree with your point about dixieland. That was a point I should have raised about some of Teagarden’s recordings, the ones I don’t care for either. But the man could play the blues. And while he never ventured into the bebop he did develop with what I consider more "straight ahead jazz" in the late ’40s, early ’50s, that time spent with Armstrong’s All Stars. "St. James Infirmary" and "Rockin' Chair" are prime examples.
Brubeck: long one of my favorite musicians, but not without controversy. In my earliest days as a developing jazz fan he received lots of criticism simply because (I believe) he was so popular. I think that generated a lot of resentment, in some part racial. For me he could swing hard or show beauty and lushness in a ballad. His experiments with time and meter went beyond what anyone else I knew of. Certainly some musicians can be accused of riding the coattails of style or technique developed by others, but I don’t believe that could ever be said of Brubeck. And I find much of his music simply fun.
pjw, I fully agree with your point about dixieland. That was a point I should have raised about some of Teagarden’s recordings, the ones I don’t care for either. But the man could play the blues. And while he never ventured into the bebop he did develop with what I consider more "straight ahead jazz" in the late ’40s, early ’50s, that time spent with Armstrong’s All Stars. "St. James Infirmary" and "Rockin' Chair" are prime examples.

