127. The Dave Brubeck Octet (1950)

I find this, the Octet's only studio album, a roaring good listen. I enjoy it alongside the Birth of the Cool by the Miles Davis Nonet. Both are similar in size and in their means of repurposing, so to speak, some of our more venerable standards like "What is this Thing Called Love" or "September in the Rain." The group's personnel is notable too, considering their different trajectories after the Octet: Tjader became known for the vibes, Van Kriedt for education, and Collins for Woody Herman. The pieces have tight arrangements that sound cool and loose, reeling with the energy and excitement of dixieland. But there's an ever present discipline behind them, too, and the innovation of infusing jazz with classical forms of writing and arranging. The soloists are concise, wrapping their choruses in 8 or 12 bars, staying close to the melody with strong voice leading. Many stayed in the repertoire of the Dave Brubeck Quartet so it's fun to compare the bobbing and weaving counterpoint with later performances of the same tunes, like our opener "The Way You Look Tonight," which I associate with Desmond's snarky quotes from Stravinsky and that nasty blues lick from Jazz at Oberlin. In fact, come to think of it, it's been a while since giving that one a spin....

107. Desmond, Brubeck, Van Kriedt / Reunion (1957)

This meeting of the minds that have met before on many occasions is as relaxed as it is concise. David Van Kriedt was the tenor and collaborator in the Octet alongside Brubeck and Desmond. He continued into academia, also playing with Stan Kenton, while Brubeck and Desmond became performers. On Reunion, there are some tastes of the fugue style writing for which the Octet was famous (Bach's "Chorale," the only tune without a Van K. credit), although in the mood is, as I mentioned, quite a bit more relaxed than it was in the Octet. Back then, as the record shows, everyone seemed scrambling to out-do his last chorus. This time, while it sometimes sounds as if there's no clear leader, each man gets a fair share of time during improvisations and the music has the feel of care and balance. The group idea of musicality is very strong. Brubeck often picks up where Van Kriedt leaves off, or Desmond does, with occasional episodes that quote slyly from whatever is near at hand. It's soft, sophisticated music with occasional fireworks ("Shouts," listen for the Brubeck boulder that spins Desmond into a tizzy) and superb arrangements by Van Kriedt, like the sumptuous "Prelude." Van Kriedt's tone is smooth and full like Lester Young, and the timbre is the ideal mixer for Desmond's alto.

43. Thad Jones / The Fabulous Thad Jones (1958)

This LP is collated from two sessions recorded by Rudy Van Gelder in 1954 and 1955. Group 1 is Jones, Charles Mingus, John Dennis and Max Roach. Although Jones leads the session, it feels strongly like Mingus is at the helm. The group is rhythmcally direct, playing a mixture of standards and Thad Jones originals. The spotlight is on Jones for every track, although "I Can't Get Started" stretches out with some interesting interplay between Jones and Mingus, and has tempo changes that lean the way Miles Davis did with his "Basin Street Blues." Jones plays evocatively with and without a mute, and shows off a only a little bit. Group 2 is Jones, Mingus, Hank Jones, Kenny Clarke, and the tenor sax and flute of Frank Wess (a la Hank Jones with Frank Wess). It's a somewhat softer, lush and casual small-group swing that excels in the ballads. This band sounds gelled and confident due to the players' associations in the Basie band. Together, the two bands make a good album that doesn't sound disjointed or uneven, although their differences are plain.