{"title":"记录遗留","authors":"S. A. Crist","doi":"10.1093/oso/9780190217716.003.0008","DOIUrl":null,"url":null,"abstract":"Once the seven cuts of Time Out had been committed to vinyl, there began a long period in which the Quartet revisited and reinterpreted this repertoire. The “classic” Quartet and its successors recorded many new versions of most of the tunes on Time Out. This chapter first examines a few of Brubeck’s most significant recordings of “Blue Rondo à la Turk,” “Strange Meadow Lark,” “Take Five,” “Three to Get Ready,” and “Kathy’s Waltz” in the thirty-five years after they originally appeared. The latter part of the chapter considers several cover versions of these tunes, which entail radical transformation of Brubeck’s original ideas. These include Anthony Braxton’s rendition of “Three to Get Ready” and Emerson, Lake & Palmer’s “Rondo.”","PeriodicalId":115971,"journal":{"name":"Dave Brubeck's Time Out","volume":"6 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Recorded Legacy\",\"authors\":\"S. A. Crist\",\"doi\":\"10.1093/oso/9780190217716.003.0008\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Once the seven cuts of Time Out had been committed to vinyl, there began a long period in which the Quartet revisited and reinterpreted this repertoire. The “classic” Quartet and its successors recorded many new versions of most of the tunes on Time Out. This chapter first examines a few of Brubeck’s most significant recordings of “Blue Rondo à la Turk,” “Strange Meadow Lark,” “Take Five,” “Three to Get Ready,” and “Kathy’s Waltz” in the thirty-five years after they originally appeared. The latter part of the chapter considers several cover versions of these tunes, which entail radical transformation of Brubeck’s original ideas. These include Anthony Braxton’s rendition of “Three to Get Ready” and Emerson, Lake & Palmer’s “Rondo.”\",\"PeriodicalId\":115971,\"journal\":{\"name\":\"Dave Brubeck's Time Out\",\"volume\":\"6 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-10-24\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Dave Brubeck's Time Out\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/oso/9780190217716.003.0008\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Dave Brubeck's Time Out","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780190217716.003.0008","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
《Time Out》的七段剪辑被制作成黑胶唱片后,四重奏开始了很长一段时间,重新审视和诠释了这些曲目。“经典”四重奏及其后继者录制了《Time Out》中大多数曲调的许多新版本。本章首先考察了布鲁贝克最重要的几张唱片,包括《蓝色回旋曲》、《奇怪的草地云雀》、《五分钟》、《三分钟准备》和《凯西的华尔兹》,这些唱片在最初出现的35年后。本章的后半部分考虑了这些曲调的几个翻唱版本,这需要布鲁贝克的原始思想的根本转变。其中包括安东尼·布拉克斯顿(Anthony Braxton)演唱的《Three to Get Ready》和爱默生、莱克和帕尔默(Emerson, Lake & Palmer)的《回旋曲》(Rondo)。
Once the seven cuts of Time Out had been committed to vinyl, there began a long period in which the Quartet revisited and reinterpreted this repertoire. The “classic” Quartet and its successors recorded many new versions of most of the tunes on Time Out. This chapter first examines a few of Brubeck’s most significant recordings of “Blue Rondo à la Turk,” “Strange Meadow Lark,” “Take Five,” “Three to Get Ready,” and “Kathy’s Waltz” in the thirty-five years after they originally appeared. The latter part of the chapter considers several cover versions of these tunes, which entail radical transformation of Brubeck’s original ideas. These include Anthony Braxton’s rendition of “Three to Get Ready” and Emerson, Lake & Palmer’s “Rondo.”