Dave Brubeck - Four Post-Desmond Quartets with Dr. Gil Harel

Please join us for another fascinating series as Dr. Gil Harel surveys Dave Brubeck’s main four quartets assembled after the retirement of the “classic quartet” with Desmond, Morello, and Wright. Many people are quite familiar with that Brubeck sound which emanated from Paul Desmond’s alto sax, backed up by Joe Morello’s drums and Eugene Wright’s bass. But many may not be aware that baritone sax legend Gerry Mulligan also played in a Brubeck quartet as did tenor sax man Jerry Bergonzi. Moreover, even fewer may be aware that Dave’s later quartets also featured William O. Smith on clarinet as well as Bobby Militello on alto sax and the flute too!

September 16th: Brubeck and Mulligan: New Directions

This engaging lecture will explore the remarkable musical collaboration between jazz legends Dave Brubeck and Gerry Mulligan. This partnership (which began in the late 1960s) produced a series of albums that blended Brubeck’s intricate piano harmonies with Mulligan’s soulful baritone saxophone, creating a distinctive West Coast jazz sound marked by rhythmic complexity and lyrical improvisation. 

During this session, we will delve into their iconic live and studio recordings, highlighting the conversational interplay that defined their unique chemistry. Discover the stories behind albums like Compadres (1968), Blues Roots (1968), The Last Set at Newport (1971), and We’re All Together Again for the First Time (1973) and learn about standout tracks such as “Jumping Bean,” “Limehouse Blues,” “Blues for Newport,” and the revived “Koto Song,” which showcase their innovative blend of blues, Latin rhythms, and modal jazz. Join us to celebrate the legacy of two jazz giants and their timeless contributions to the genre.

October 22nd: Brubeck and Bergonzi - Dave Brubeck in the 1970s and beyond

This session delves into the captivating and dynamic musical partnership between jazz icon Dave Brubeck and tenor saxophonist Jerry Bergonzi, whose collaborations in the 1970s and early 1980s brought a fresh, bluesy, and post-bop energy to Brubeck’s evolving sound. From 1973 to 1981, Bergonzi, known for his Coltrane-inspired tenor, joined Brubeck’s ensemble for tours and recordings, including a stint as the saxophonist in the Dave Brubeck Quartet from 1979 to 1981. Their work together, often featuring Brubeck’s sons (Chris, Darius, and Dan), blended Brubeck’s rhythmic complexity with Bergonzi’s robust, melodic improvisation, creating a vibrant contrast to the earlier Desmond era.

We’ll explore music from their nine recorded albums, including Two Generations of Brubeck (1973), Back Home (1979), Tritonis (1980), and Paper Moon (1981), with standout tracks like “Koto Song” (reimagined once again, now with a bluesy edge), “Two-Part Contention” (featuring Bergonzi’s fiery tenor), and “Caravan” (a standard showcasing their synergy). Recorded for labels like Concord and Atlantic, these albums highlight a bolder, more contemporary jazz sound. Join in as we dive into a lesser-known but electrifying chapter of Brubeck’s legacy.

November 25th: Rhythms and Riddles - The Brubeck-Smith Legacy in Jazz Innovation

This lecture examines the innovative musical partnership between legendary jazz pianist Dave Brubeck and clarinetist Bill Smith. Theirs was a collaboration that spanned decades and impacted jazz with its blend of improvisation and classical influences. From their early work in the Dave Brubeck Octet (1946–50) and the groundbreaking 1960–61 albums The Riddle (featuring tracks like “Hey, Ho, Anybody Home?” and “Quiet Mood”), Brubeck à la Mode (with “Dorian Dance” and “Frisco Fog”), and Near-Myth (including “The Unihorn” and “Bach An’All”), their synergy - forged under Darius Milhaud’s mentorship at Mills College - created a distinctive clarinet-driven sound that contrasted with Brubeck’s iconic Paul Desmond era, sometimes pushing jazz into experimental, “third stream” territory.

This remarkable partnership flourished into the 1980s and beyond, with standout performances captured on albums like Concord on a Summer Night (1982), featuring tracks such as “Koto Song” and “Blue Rondo à la Turk” showcasing their enduring chemistry. This lecture will explore how Brubeck and Smith’s interplay evolved, blending playful rhythms, complex harmonies, and classical structures across their career, leaving a lasting impact on modern jazz. Don’t miss this deep dive into their creative legacy, from the 1940s to their later years!

December 9th: Twilight Rhythms – Brubeck and Militello’s Late-Career Jazz Legacy

Our final lecture explores the dynamic collaboration between jazz legend Dave Brubeck and Bobby Militello (alto sax and flute), whose partnership from 1982 to 2012 produced some of Brubeck’s most memorable works. Dive into the synergy of Brubeck’s innovative piano and Militello’s soulful alto saxophone and flute, which brought fresh energy to the Dave Brubeck Quartet during this period. We’ll discuss key albums like Quiet as the Moon (1991), The Crossing (2001), and London Flat, London Sharp (2004), highlighting Militello’s distinctive contributions.

The lecture will spotlight standout tracks such as “Linus and Lucy” and “Benjamin” from Quiet as the Moon, showcasing Militello’s playful yet poignant style, and “Bessie” from The Crossing, where his flute work shines in a Latin-infused tribute as well as a unique take on “Koto Song.” Join us to celebrate this remarkable era of jazz, with insights into how Militello’s melodic finesse complemented Brubeck’s rhythmic genius, illustrated through rare recordings and live performance clips.

Gil Harel (PhD, Brandeis University) is a musicologist and music theorist whose interests include styles ranging from the western classical repertoire to jazz. Previously, he served on the faculty at CUNY Baruch College (where he was awarded the prestigious “Presidential Excellence Award for Distinguished Teaching”). Currently, he is Full Professor of Music at CT State Naugatuck Valley, where he has been presented with the AFT "Merit Award for Exemplary Service to the College" for 6 consecutive years. In 2020, he was honored with the coveted Connecticut Board of Regents (BOR) Teaching Award. At NVCC, Dr. Harel conducts the college chorale, a cappella ensemble, teaches music history and theory, and serves as musical director of theater productions.

Registration strongly recommended. Register online or call 203-762-6334. You will automatically be registered for all four sessions.