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JAZZ IMPRtrSSIONS
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F-'OR PIANO

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THE

ECK
QUARTET

JAZZ IMPRESSIONS

of the f.r.s.A.
A music notebook is as important to
the traveling musician, as a sketch pad
is to the artist. When lulled by the
sounds of travel, the drone of the
plane, the rumble of the bus, the clack
of the rails, or even the hiss of the
radiator in a strange hotel room,
themes suddenly spring into consciousness. If a sketchbook is handy, the
elusive idea is captured to be develolled,
arranged or changed. ",Jazz Impressions" is a group of compositions
created in just such a manner, from
notebook scribblings made while on
tour. It was recorded on three different dates, in three different cities
(New York, Hollywood and Oakland)
as our itinerary permitted.
As many popular songs have been
transformed by jazz into almost different tunes - different in emotional
content, rhythmic conception, and melodic development - so these sketches
by the Quartet vary according to the
mood of the group and the individual
interpretations of the soloist. The
themes themselves, which are but the
skeletal framework for improvisation,
occasionally use musical devices which
are typical of certain regions in the
United States. Although these pieces
have their moments of humor, at no
time do we attempt to satirize the indigenous music which served as inspiration for these impressions. Much
of the folk music of America has become integrated into jazz, and conversely, jazz has affected folk music
itrself, so that today we find endless
cross-influences.
Ode to a Cowboy is an example of
grou;? creation, after the theme has
been presented and the idea discussed.
Paul Desmond's alto becomes the
plaintive voice of a singing colvboy,
and Norman Bates' bass, his guitar
(.o*tt^r.o

FOR

PIANO
By

DAVE BRUBECK
T r a n s c r i b c df n r m t h c C o l u m b i a R c c o r d i n g s , a n d e d i r e d

By
HOWARD BRUBECK

CONTEt.T*TS

ODE TO A COWBOY
SUMMER SONG

HISTORY OF A BOY SCOUT

18

PLAIN SONG

25

CURTAIN TIME

29

SOUNDS OF THE LOOP

40

HOME AT LAST

Copyright @ 1963 by
oN aAcK coven)

DERRYMUS|C CO.

ODE TO A CO\ATBOY
DAVE BRUBECK

Easy s\il.ing J : ! p 8
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copyright o 1957 & 19G3by DERRy MUSIC co. , 240 stockton st. , San Francisco,
International Copyright Secured

Made in U. S. A.

Calif.
All Rights Reserved

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DAVE BR,UBECK

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copyright o 1952 & 1968 by DERRy MusIC co.,

International

F7

Copyright

Secured

240 stockton st., San Francisco,

Made in U. S. A.

Calif.
AIt Rights Reserved

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18

HISTORY OF A BOY SCOUT

DAVE BRUBECK
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Copyright O 1957 & 1963 by DERRY MUSIC CO. , 240 Stockton St. , San Francisco, CaIif.
Arl Rights Reserved
Made in U. S. A.
International CopYright Secured

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PLAIIV SONG

DAVE BR,UBECK

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Copyright O 1957 & 1963 by DERRY MUSIC CO. , 240 Stockton St. , San Francisco, Calif.
All Rights Reserved
Made in U. S. A.
International Copyright Secured

28

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CURTAIN TI]\{E

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Copyright O 19b? & 1963 by DERRy MUSIC
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Internationai Copyright Secured
Made in U. S. A.
All Rights Reserved

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34

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All Rights Reserved
Made in U. S. A.
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40

HOME AT LAST
BRUBECK

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CL 984

Personnel
Dave Brubeck-piano
Paul Desmond-alto sax
Norman Bates-bass
Joe Morello-drums
Home at Last is an
unaccompanied piano solo by
DAVE BRUBECK

accompaniment. The tango rhythm

was Norman's invention, his contribution to the developed composition. Joe
Morello's sensitive drumming suggests the presence of the cowboy's sole
corhpanion. A typical cowboy chord
progression is intrinsic in the melody.
Summer Song is a theme recalled
from one of my own improvised
choruses, which evoked memories of
peaceful golden summers away from
the city. The lyrics my wife and I
wrote to the bridge of Summer Song
suggest the picture the music hopes to
convey.
"I hear laughter from the
swimmin'hole.
Kids are fishin' with a willow pole.
Boats are driftin' round the bend.
Why must summer ever end?"
Yond,er for Two was conceived as a
tribute to the early New Orleans jazz
musicians. The written portion of this
tune retains some of the two-beat
flavor and is intended to express the
happy, joyous feeling so typical of
this era.
History of a Boy Scout (named by
our own wit-master Paul Desmond
with an elaborate salaam in the direction of Stravinsky
and Histoire du
Soldat'l is more serious in intent than
the title implies. It is a mixture of
humor and reverence that is so typical

CL 984

of the American G.I. It contains some

of the sky rocket spirits of a Fourth
of July parade, but there is an undercurrent of hallowed respect for the
men of Valley Forge, Gettysburg, Ardennes, Wake, the Bulge and Korea.
Listen for the canon (by the iano)
where the left hand answers the right,
one measure behind and an octave beIow.

Loop are strictly Morello's-the clanging of the el train, the roar of the
traffic, the hubub of Chicago at the
rush hour are all reproduced by this
one-man battery.
Home o,t Lq,st was actually recorded
in my home at the completion of a
tour. It attempts to convey my inner
peace as I look again upon familiar
landmarks-the
calm of the Bay, the
quiet of the hills, the warmth of the
fireside, the love of the family - all
felt with increased poignancy after my
long absence. The wanderer has returned.
Dave Brubeck
Oakland, California
January, 195?

PIan Song was written while traveling on a bus somewhere between

Yankton, South Dakota, and Iowa
City. The insistent thump of the bass
and the mechanical rhythm of the
drums portray the monotonous revolution of wheels upon a journey which
has no end. The opennessof the piano
evokes the bleak expanse of plains,
Other Brubeck recordings f or Columbia
broken only by the sight of an occa- include:
sional farm house. The alto is again JAZZ GOE.STO COLLEGE: Balcony Rock
o Out of Nowhere o Le Souk r Take the "4"
a voice of loneliness.
Cu.rtain Time is like a pencil sketch
of Broadway, a mere suggestion of
what the full-color painting should
be with strings, brass and the full
complement of a theatre orchestra. All
we have here of the real pit band is
the soft tinkle of the triangle in the
opening bars. The rest of the orchestration is for you to paint as the four
of us try to conjure some of the excitement and glamour of a Broadway
musical at curtain time.
Sounds of tlte .Loop introduces the
remarkable melodic drumming of Joe
Morello. His forceful, individual style
of drumming has notably influcnccd
the over-all "sound" of the Quartet
since he joined us in the fall of '56.
From the hoof beats and whinnys of
Ode to a Coutboy to the military cadences of History of a Boy Scout, Joe
has contributed mightily to these jazz
impressions, but the Sounds o the

Train r \he Song Is You o Don't Worry

'Bout Me. o I \{ant to Be Happy.
@ CL 566
DAVE BRUBECK AT STORYVILLE: On
the Alamo o Don't Worry 'Bout Me . Here
'When
Lies Love r Gone with the Wind r
You're Smiling o Back Bay Blues. @ CL 590
BRUBECK TIME:
Audrey o Jeepers
Creepers e Pennies from Heaven o Why Do
I Love You . Stompin' for Mili o Keepin'
Out of Mischief Now o A Fine Romance o
Brother, Can You Spare a Dime. @ CL 622
JAZZ: RDD HOT AND COOL: Lover o
Little Girl Blue o Fare Thee Well, Annabelle o Sometimes I'm Happy o The Duke
o Indiana o Love Walked In.
@ CL 699
BRUBECK PLAYS BRUBECK:
Swing
Bells o Walkin' Line o In Your Own Sweet
Way r Two-Part Contention o Weep No
'When
More r The Duke r
I Was Young o
One Moment Worth Years o The Waltz.
@ cL 8?8
DAVE BRUBECK AND JY AND KAI
AT NE\ryPORT: In Your Own Sweet Way
o Two Part Contention o Take the "A" Train
r I'm in a Dancing Mood. Jay and Kai:
Lover, Come Back to Me o True Blue Tromboniums o Nwpt.
@ cL 932

t00/313/L/36070