On Monday, one of America's true innovators, Dave Brubeck turns 90 years old.
Brubeck did some amazing things with tempo. He took chances, he went way out there on the high wire, but took us with him on the way. He challenged us to come along, but he always made us feel safe.
The other great thing about him is he was very secure. If you listen to "Take Five," all the flourishes are given to Joe Morello, on drums, who taps the cymbals with such a light touch it sounds like he was playing them with his fingernails and Paul Desmond. ("Take Five" made a star out of Desmond, and Brubeck said he intended the piece for Morello to get a great solo.) Brubeck is content to provide the dance floor, and let his compadres dance.
He also was one of America's great ambassadors. One day about a dozen years ago I was walking up Clay to Grant in San Francisco (Chinatown) and I was so startled I had to stop. Inside a cheesy souvenir shop, a tinny radio was playing Chinese music. It was "Take Five" but played with Chinese instruments! One of them was that whiny violin thing which sounded atonal like cats being strangled. But for "Take Five" it played Brubeck's part, and it knocked me out. I must have been quite a sight on the sidewalk, tapping my feet and nodding my head like a dope fiend! I tried to find out what it was so I could buy the CD, but no one knew.
This is my favorite cut from his influential album, Time Out, "Blue Rondo a la Turk."
I have nothing profound to say about Mr. Brubeck, except to salute him. He's a fundamentally decent man. He turned down gigs in 50s and 60s when he found out the audience was going to be segregated, and another time he refused a TV spot because he found out Eugene Wright, his bassist, who is African-American, was not going to be seen.
I saw him in concert in the City about 2001 or 2002, and he was strong and steady. We met eyes for a second, and I hope he felt the respect and love I have for him.
Godspeed, old friend.
--30--
