The Dave Brubeck Quartet at Carnegie Hall 2CD [color=red]已出
[/color][quote=allmusic.com]For all those who have a big axe to grind with Brubeck, for all those who claim the band was only successful because they were predominantly white, or played pop-jazz, or catered to the exotica craze, or any of that, you are invited to have all of your preconceptions, tepid arguments, and false impressions hopelessly torn to shreds by the CD debut of one of the great live jazz albums of the 1960s. At Carnegie Hall is a date that showcases all of the finest elements of the storied Brubeck Quartet that featured, alongside Brubeck's piano, alto innovator Paul Desmond, bassist Eugene Wright, and Joe Morello on drums. First the rhythm section: On this February night in 1963 -- either the 21 or 22nd depending on which side of the cover you believe -- W.C. Handy's "St. Louis Blues" was given a knotty rhythmic workout it had never seen on Basin or Bourbon Street. Time signatures moved and shifted all over the tune for 12 minutes as Brubeck and Desmond exchanged cross-contrapuntal solos and melodic inventions back and forth. Movement and plenty of it was the identity this old nugget took on, with Brubeck taking Wright's cue and moving the blues into unheard of harmonic spaces and intervals. At one point, with 16/4 time, forcing itself onto the front line, Desmond makes his move quickly with one scalular interval to the top of the meter and stops. It's enough, he seems to be saying, it gets brought back to a humane tempo before clamoring itself from a samba back into the blues before winding it out. And that's just for openers! The band moves through all their hits and their new instincts gained from traveling abroad for the better part of six years. With cuts like "Bossa Nova U.S.A" and "Blue Rondo a la Turk," the quartet breathed new fire both melodically and tonally into their won material, while other standards such as "Pennies From Heaven," were literally harmonically reinvented by the intense counterpoint, double and even triple that went on between Desmond and Brubeck. And that's what this set is a reflection of: the Brubeck band would have loved to be recorded live every night they played. They hated the studio because there was nothing to compete against and no energy but their own to glean from. Check out "Eleven Four" and see where the audience in stuffy old Carnegie Hall is transformed into a hooting mob as Desmond solos his ass off. When Brubeck pulls Ravel out of his back pocket and Wright accommodates him, setting a samba tempo for him to play against, the crowd may not know what they are hearing, but they flip just the same; they know something's happening and they're right there to experience his harmonic indulgence in the past married to a contrapuntal bop syntax from Desmond. It's no surprise that "Take Five" would take the set out, but given what has been played over two discs, it's almost a comfort. There are fewer surprises here it's true, but then, the tune's a groover anyway, and they grease it to the point of making it funky thanks to Wright's slapping at his bass in the middle section. This double CD is perhaps the one essential Brubeck disc. While Take Five is rightfully a classic in that it changed everything, At Carnegie Hall reveals the band at the epitome of its musical -- harmonic, rhythmic, melodic, improvisational -- strength with near telepathic communication. It swings like a mother and offers an entirely new dimension to the definition of "melodic improvisation."[/quote]
最初买这张现场我承认目的很简单——就是来听Paul的，就是来听blue rondo和take five的。CD到手后，我得到了我想听到paul的表现，paul的声部相对于他们其他的现场更加突出，paul独有的中音sax音色尽显，即兴演奏非常完美流畅。blue rondo和take five作为本场最后的压轴演出，果不其然得精彩高涨。 然后我还收获了意外惊喜。这支西海岸爵士四重奏，在这次音乐会中，每首曲目时间都很长，除了Eleven Four是4分多钟，其余的曲目都在6分钟以上，甚至超过10分钟，这意味着dave留了相当充足的空间给各部即兴发挥，Joe Morello的鼓， Eugene Wright的底音贝斯，以及dave自己的钢琴，都在这场音乐会中充分展现了各自的魅力，两个字过瘾。
和常见的Jazz live还有一个显著的区别，一般jazz live多是在场地不大的PUB中进行，而在卡内基大厅举行的这次演奏会，在声场和气势上都别具一格。
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