Brubeck Returns To Moscow
His basis in the classical idiom is well founded. After serving under Patton
in 1942 in World War II and his discharge in 1946, he studied with the great
Darius Milhaud before his primary interests led to the formation of his
famous quartet. His mark of individuality came from experimentation with
time signature unusual to jazz, which developed intricately expressive
original works like "Blue Rondo a la Turk" (played here) and "Take Five."
By the time that this 4th visit to Moscow came about in late 1997, he had
written two ballets, a musical, an oratorio, four cantatas, solo piano pieces
and works for jazz combo and orchestra. Perhaps his most ambitious work of
all is his mass, which fits into the latter category with the addition of
three singer soloists and choir. It's an expression of his Presbyterian
inheritance and the purpose of his visit to Russia as shown on this DVD. His
mass, called, "To Hope! A Celebration," is presented in its entirety and
captured by Emmy-winning filmmaker Daniel Wilson.
Prior to that concluding "act," we get to witness the warm reception this
ambassador of goodwill and international relations through the arts
receives, in jam sessions at the elegant Spaso House, in interviews with the
Russian musicians and with the acclaim he receives everywhere, notably when
he joins the Yurlov State Academic choir as it undergoes training in the
Brubeck rhythmic style by Brubeck's conducter, Russell Gloyd. Their process
of training for the Mass is enough to warrant having this DVD.
Brubeck's compositions fall into a hybrid genre and may never bring him the
respect of the classical world that he has a foot in. But the evidence of
his fusion between jazz and orchestra is expertly demonstrated by the aging
pro who has lost no feel for the beat or the originality of a thematic line.
Bobby Militello on sax is a revelation of what can be done in his pure jazz
riffs taken up from the classical academicians. On his solos, a new wave of
understanding spreads across the mesmerized, mostly Russian audience, which is
held in rapt attention by a fresh level of genius and, as well, by the solo
work of Jack Six on bass. Drummer Randy Jones exudes control and creative
support with the underbeat.
The venue for the work is the Bolshoi Hall of the Moscow Conservatory of
Music, a place that never before heard the likes of it--a claim supported by
audience reaction shots. The level of excitement felt by everyone is
palpable. It's joyous and passionate, stimulating and completely
satisfying.
In 1999, the National Endowment for the Arts presented Brubeck a Jazz Master's
Award in recognition of his ongoing contribution to jazz. He has also
received the National Medal of the Arts from President Clinton in a White
House ceremony. His musical contributions as both pianist and composer have
been honored with a Grammy Lifetime Achievement Award. Bravo!
DVD extras: 34-minute extended interview with Russian TV personality Vladimir
Posner (a must-see); Biographies.
Dave Brubeck isn't just a jazz great. At age 77, this DVD demonstrates what a
musical master and generous, elegant presence he is. In purely musical
terms, he's considerably more than just a player, interpreter or band leader.
He rises to a greater level of creativity by virtue of his composing, in
which he fuses jazz with classical elements.
Ah, but there are many other reasons. Brubeck describes why the gorgeous
Maria Maskhulia was chosen from a wealth of other candidates to serve as
coloratura mezzo-soprano. If it weren't for the exquisite smoothness of her
vocal power, it would have been a supremely fine choice simply for her
disarming personality--which illuminates the stage. Having been introduced to
this beauty, one can only wish that she might advance to international
stature so that we may see her again. (I'm dying to see her again!)
Most astounding was the master himself as he takes his turn with piano
variations that start with crisp, sometimes worshipful classical edges,
develops it into jazz variation that has the first violinist staring at his
finger work on the keyboard in captive awe, and progresses with startling
smoothness to the classic modality for soloist or the Russian National
Orchestra to pick up. The transitions he works out are reminders of his
level of musical art.