Music post by Ruddy Adam.
Music to Continue Honoring the Lord, in Preparation for the Celebration of His Resurrection
Note: By all means, if you don’t have time for the whole of this piece at first, run your arrow up to 3:00, and get ready to hear genius a few bars later. I urge you to read my introduction before starting the piece, so that you will have an idea of the type of masterful music you are about to hear.
The album from which this piece comes, I believe was Dave Brubeck’s apex of sophisticated, revolutionary works, though he composed hundreds more songs after this. For not only was he at his top form at 50-years of age, he had with him at the time three of the greatest musicians ever to play their respective instruments, thereby allowing us to enter a realm rarely entered by mere mortals, because we are able to listen to music that perhaps only ten to twenty people who have ever lived could play.
A child prodigy and classically trained composer, Dave Brubeck is our number one Jazz composer and leader out of the best composers, pianists, and Jazz leaders ever.
Drummer Alan Dawkins played for four-years with Brubeck, having taken the great Joe Morello’s place, whom Brubeck himself said was the greatest drummer he had ever heard. Dawkins also played for Bill Evans and other great Jassists, and was an innovative teacher for years. Saxophonist Gerry Mulligan is perhaps the greatest baritone ever. As well as a composer, he created a quartet that included trumpeter Chet Baker—which excluded a piano. That is still a heralded Jazz group.
The album of Brubeck’s concert at the Berlin Philharmonic in 1970 did not come out until three-years afterwards in 1973. Miss Buck, however, received a reel for her reel-to-reel deck, along with a letter regarding the concert from a fellow musicologist in Europe.
Her friend who attended the concert was astounded and astonished at what she had heard. She informed Miss Buck that the upper echelon of music luminaries were in attendance, and they were all aflutter at what they had heard. Brubeck and Co. were the talk of European intelligentsia.
After the twelve of us who were about the same age, and all close friends, heard the entire reel alone with Miss Buck, she had all twelve of us gather in her music room one evening so we could all listen together.
In this piece Brubeck wanted to compose not only a unique piece, but one deserving of his favorite Biblical Passages. Seems to me he accomplished that.
After a beginning combined with bass and piano playing counterpoint and Brubeck’s one-handed inharmonic jabs, at 1:40 you get a quick view of what is to come when Brubeck gives us several bars of inharmonic music. At 2:00 more inharmonic one-handed jabs, and then mixes of perfect and inharmonic counterpoint.
Now what neurologists have found out about both out-of-tone and inharmonic music is that when it’s splashed about on purpose in a piece by an excellent musician or singer, it stimulates the right-brain. An entire piece (especially listened to on a regular basis), however, of either out-of-tone or inharmonic music tortures the whole-brain, causing the brain to pump out negative chemicals and cause both mental and physical anguish.
The type of Jazz that Brubeck & Co. are playing is the best music to stimulate the whole-brain. Add to that all that these musicians are able to do that almost no one can do, and you have something very special that your brain will appreciate.
Enter Jack Six’s bass with about five bars as an adagio to begin the piece, then audience applause, then Brubeck playing inharmonic jabs for a few lines, and no right-brain in the terrestrial realm could imagine what was ahead.
After a full inharmonic build, at 3:00 the group makes a time change and begins to play in harmony. The cooldown at 4:00 leads to even more surprises as Mulligan’s baritone sax eases in at about 4:30.
Now, pay attention to those sax sounds, because they are not scale notes. Mulligan is playing vibrato at about 1/8 off the scale. Yet, the sound is pure and in harmony with the whole piece, although eerie at times—but soothingly so.
Always the unselfish leader, Brubeck allows Mulligan’s sax, Dawson’s drums, and Six’s bass to finish out the piece, with Brubeck’s piano commenting ever so slightly.
Perfect piece to honor the Lord’s Sermon on the Mount. Perfect piece to a lead up to the Celebration of Resurrection 2017.
“Blessed Are the Poor,” by Dave Brubeck’s Trio, Along with Saxophonist, Gerry Mulligan, at the Berlin Philharmonic, 1970 (9:00) Studio Version
For Your Brain Note: Take your brain supplements. Wait a few minutes. Lie down. Get comfortable. Let your brain absorb this piece, as you lie passively not thinking about each part of the piece. Simply listen generally. Listen to it again under the same conditions. Lie there for a few minutes. Then get up. You will feel your brain racing, with information flowing hither and thither within.
Excellent piece to listen to in that above manner when you have a reason to be extra sharp. It’s one of my pieces that I use before working on a long, tedious piece. Or, try delving into the mental puzzles some of my case studies bring about for me to solve. Sometimes I need more, however. Ahem!