JAZZ COVERS: GOLDEN BROWN

After the last post there was only one possible follow on piece, to look at a brilliant and mesmerisingly accurate spoof on/homage to Brubeck, and, of course, the Stranglers. One that had a fair few fooled. 

Was Dave Greenfield, the late keyboard player for the Stranglers, and the writer of the repeating harpsichord riff in the song, influenced by Brubeck? He would say not, but it does not seem unreasonable to think each were influenced by the composers of the baroque period, as, for that matter, will have been Ray Manzarek, often and lazily touted as Greenfield's main contemporary influence. Who cares, frankly, I love 'em all, and could listen all day to any of these three.

Laurence Mason is a music graduate of Leeds Conservatoire who likes messing around with the available technology, as well as being an adept player of many instruments. When Greenfield died, he wanted to pay tribute and, already aware of the acknowledged similar ambience of both Golden Brown and Take Five, apropos existing mash-ups like this, decided to go a step further: 

“A little tribute to Dave Greenfield (keyboardist with The Stranglers who died with Covid-19 last week) and Paul Desmond (saxophonist with the Dave Brubeck quartet – the anniversary of his death is at the end of this month).

Also because I’ve been enjoying editing videos and recording stuff over the last couple of months. A couple of people have asked how I made this video so here we go – I took a clip from a 1964 live version of Take Five (https://www.youtube.com/watch?v=tT9Eh…) and made the drum loop by chopping up the intro and turning it from 5/4 into the 3/4 – 4/4 groove that Golden Brown has. The upright bass sound is sequenced from Logic, and the piano part was played in using one of the piano sounds from a Nord Electro 5D. Then I played the sax part over the top (I play a King Zephyr alto and for this I used a hard rubber Yanigasawa mouthpiece rather than my usual bright Guardala).

The video was then edited using the clip I’d taken the drum loop from.” — Laurence Mason

This interview delves deeper. First imagined as a bit of fun, once embedded in Youtube, sufficient hits drew it to the attention of Paul Murphy, influential on the UK jazz scene, and it swiftly became available as a record to download or buy. Under the name, groan, of 'Take Vibe'. (With, on the flip, an equally iconic take on the Police's 'Walking on the Moon'.)

So, what else has Mason been up to? Initially a whole album was projected and, who knows, maybe it still is, lockdown possibly casting a cloud of best laid plans etc. I would certainly be interested.

Get Vibe

Jazz Covers: Take 5

 

purchase [Time Out]

In 1958, the Dave Brubeck Quartet did a tour of EurAsia that was sponsored by the State Department. Their trip included a stop in Istanbul, from where I write my posts to SMM. I was only 3 back then, but some time in the mid 1960s, my parents added <Time Out> to their record collection, so I would have been listening to it at around age 10 (in Istanbul even back then).

Brubeck was affected by the music he heard in Istanbul such that their 1959 <Time Out> album makes much use of time signatures that could be Turkish. Not only does music from Turkey (and points east) use "non-standard", tricky time signatures, but also a musical scale that is based on Arabic music, where - instead of the 12 notes of a Western octave- there are 53 "koma". For most of us, music in school taught us about standard Western time signatures like 6/8 or 3/4 or 4/4 - what dominate rock and pop and even much jazz in addition to classical music. Turkish music makes use of these, but also more complex rhythms like 5/4 or 7/4 and 9/8 and more.

It was this influence that powered Brubeck and Paul Desmond when they wrote Blue Rondo a la Turk and Take 5. The 5 in the name is the 5 from the 5/4 rhythm.

Wikipedia informs me that Take 5 is "the biggest-selling jazz single ever", so it's no surprise that there are more covers than you can shake a stick at. The article also notes that the song brings in royalties of over $100,000 a year.

Tricky Beats: Unsquare Dance

Dave Brubeck: Unsquare Dance

[purchase]

One of my earliest memories is being with my father, listening to Harry Belafonte’s Matilda, Rimsky-Korsakov’s Scheherazade and anything by Johnny Cash (I still know all the words to his songs) – I was born in 1954 and we had a hi-fi for the early years of my life. I will never forget the momentous occasion when my dad brought home a *stereo*… took great delight in setting it up… had me sit down on the couch, at the apex where the speakers joined to make “the sweet spot”... and played Dave Brubeck’s Take Five (on Time Out) – magic!

A song on Time Further Out was also one of Dad’s favorites – as Brubeck points out in his liner notes:

Unsquare Dance, in 7/4 time, is a challenge to the foot-tappers, finger-snappers and hand-clappers. Deceitfully simple, it refuses to be squared. And the laugh you hear at the end is Joe Morello’s guffaw of surprise and relief that we had managed to get through the difficult last chorus.

Every time Dad played the album, which was frequently, he encouraged me to attempt to clap along... quite fun and challenging for a seven-year-old child – even though the tune was only two minutes, I never could keep the rhythm all the way through… but he always did...

[ Just as I was getting ready to post this, I saw the picture of Morello (Brubeck's drummer) on the Star Maker Machine home page sidebar for this week’s theme – wah! Here I thought I was being unique and clever – well, I’m sending it on anyway, just in case someone out there hasn’t heard (or heard of) it… ]