Time Again: Brubeck Revisited, Vol. 2
I have a new CD that I am very happy with. It's called "Time Again: Brubeck Revisited, Vol. 2" and it is released by a label from New York called Sunnyside. This is the same label that released Vol. 1. I am so pleased with what the label is doing!
The album features the wonderful compositions of Dave Brubeck. It also features two startling young musicians (both 21) who were students at the Brubeck Institute. They are bassist Joe Sanders and percussionist Justin Brown. We very rarely ever hear talent at this level at such a young age in the Sacramento area. They have both moved to New York and are currently making waves on the local scene there.
Here's a quote from Dave Brubeck:
Time Again: Brubeck Revisited,
Since Love Had Its Way
Purchase from Amazon.com.
Now available on ITunes.
With Dave Brubeck and Christian McBride at the 2005 Brubeck Festival, April 10th.
Jazz Review (August 2005), by Philip Clark
Readers may have noticed from copy previously filed that Im a passionate
Brubeckista, but Ive never quite been able to work out why Brubecks
own compositions remain so disappointingly underplayed. One reason might
be that theyre often hugely difficult. Daves deftly supple
harmonic changes and his
Gilmans approach makes for an intriguing comparison with Anthony
Braxtons view of Brubeck, as documented on the two volumes recently
issued on the Leo label of Braxtons standards quartet. Whereas Braxton
unpicks the constructivist/modernist facet of Brubecks aesthetic
(recently highlighted by the title track to Brubecks latest release
London Flat, London Sharp), Gilman places
What Gilman achieves is a revelation that every Brubeck fan needs to hear. The familiar vamp is pounded out between the keyboard and the inside of the piano, with punky percussion from Justin Brown nudging the piece towards a hip drum n bass feel. Theres a more familiar jazz feel to the bridge passage, but the trio give this piece of iconic cool a make-over that turns it into a primeval stampede. Its jittery collage-like structure adds to the merriment. A prodigious imagination at work.
Take Five represents Gilman at his most extreme, but each
track has its own charm and points of interest. The coy teenagers-in-love
spirit of Brubecks dedication to his wife Iola, Im In
Love With A Girl Named Oli (first heard on 1997s So Whats
New?) gives Gilman license to evoke Brubecks
The Duke itself has probably never been overhauled as radically as this, with Gilman casting it as a piquant bi-tonal dirge, at once a brilliant memorial for the Duke and a celebration of the harmonic potential Brubecks concepts have opened up for jazz improvisers. Volume Three to Get Ready?
JazzTimes (June 2005), by Thomas Conrad
For Time Again: Brubeck Revisited, Volume Two (Sunnyside), Joe Gilman concentrates mostly on material from the 1960's, the golden era of classic Brubeck albums like Time Out and Time Further Out. A lifelong devotee of the pianist and a member of the faculty of the Brubeck Institute at the University of the Pacific, what makes Gilman's work rewarding is his passion for and closeness with the material, combined with his willingness to rethink it. People might wonder if another version of "Take Five" (technically, of course, a Paul Desmond tune) is even necessary, given that a thousand recordings have been authorized in the U.S. alone. The answer is yes. Gilman's take on "Five", with its hand smashed piano strings and cacophonous African percussion, is outrageous and hilarious. "The Duke", one of Brubeck's lasting songs, is uncharacteristically slowed to a stark, halting, yearning dirge.