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Kelt · 12-05-2012, 05:51 PM

LA Times
By Chris Barton
December 5, 2012, 1:33 p.m.
When thinking about Dave Brubeck, you can't help but also consider time, and not just how much of it fans received from the prolific jazz pianist up to his death Wednesday at age 91.

A titan of West Coast jazz, Brubeck was linked with California for much of his career. He was born in Concord, studied at what is now is the University of the Pacific in Stockton and recorded for Berkeley-based Fantasy Records, which helped forge the Bay Area's sound in the '50s. But regardless of where a listener was based, the Dave Brubeck catalog was an inevitable destination.

Part of the reason is "Time Out," the aptly named 1959 recording that stands with Miles Davis' "Kind of Blue," Charles Mingus' "Mingus Ah Um" and Ornette Coleman's "Shape of Jazz to Come" as a groundbreaking album during a pivotal year in the evolution of jazz. Where Davis explored modal structures and Coleman blazed into a new world of saxophone, Brubeck was equally inventive for his experimentation with jazz's heartbeat.

12-05-2012, 05:51 PM	#369
Kelt Senior Member How Do You Identify?: Beach Butch Join Date: Oct 2010 Location: SoCal Posts: 2,751 My Photo Gallery Thanks: 19,765 Thanked 15,301 Times in 2,539 Posts Rep Power: 21474853	LA Times By Chris Barton December 5, 2012, 1:33 p.m. When thinking about Dave Brubeck, you can't help but also consider time, and not just how much of it fans received from the prolific jazz pianist up to his death Wednesday at age 91. A titan of West Coast jazz, Brubeck was linked with California for much of his career. He was born in Concord, studied at what is now is the University of the Pacific in Stockton and recorded for Berkeley-based Fantasy Records, which helped forge the Bay Area's sound in the '50s. But regardless of where a listener was based, the Dave Brubeck catalog was an inevitable destination. Part of the reason is "Time Out," the aptly named 1959 recording that stands with Miles Davis' "Kind of Blue," Charles Mingus' "Mingus Ah Um" and Ornette Coleman's "Shape of Jazz to Come" as a groundbreaking album during a pivotal year in the evolution of jazz. Where Davis explored modal structures and Coleman blazed into a new world of saxophone, Brubeck was equally inventive for his experimentation with jazz's heartbeat.