Section from chapter 1954: East and West   [ return to introduction ]

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By Mervyn Cooke • 325 illustrations,
82 in full color • 256 pages • 8-1/2 x 8-1/2"
Cloth • ISBN 0-7892-0399-5 • U.S. $45.00
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Dave Brubeck, seen here in 1957, studied classical techniques with French composer Darius Milhaud, a noted pioneer of Symphonic Jazz (• p.53). [ view larger image ] (The Frank Driggs Collection)
Jazz West Coast

1954 was a good year for the West Coast style, with Chet Baker and Gerry Mulligan both achieving fame and Dave Brubeck appearing on the cover of Time magazine. Based in California, the West Coast school took its initial inspiration from Miles Davis's Birth of the Cool (1949), to which baritone saxophonist Gerry Mulligan contributed several arrangements. In 1952 Mulligan formed a quartet in Los Angeles with Chet Baker (trumpet), Bob Whitlock (bass) and Chico Hamilton (drums). The group played jazz that showed a considerable degree of emotional restraint, the overriding characteristic of the cool school (as it was immediately dubbed). Baker based his playing (without vibrato) on that of Davis, and cultivated an understated directness both on his trumpet and in his crooning, seductive singing voice, which, together with his handsome looks, rapidly made him a popular idol. Like most other prominent West Coast players, these musicians were white, and their relaxed idiom became familiar on numerous Hollywood soundtracks.

The most successful cool pianist was undoubtedly the enduringly popular Dave Brubeck, who remained based in California. Brubeck received a thorough grounding in classical music, which left its mark on his jazz compositions in their frequent use of advanced harmonies, elaborate structures and complex or irregular meters. The most famous example of the last is the experiment with quintuple time in his quartet's 1959 recording of "Take Five," a catchy and now ubiquitous number written by the group's saxophonist, Paul Desmond, who also recorded with Mulligan in this period.

The cool style was not restricted to the West Coast, however: a number of skilled performers promoted it in New York. East Coast exponents include the expatriate English pianist George Shearing (who was blind from birth), and the versatile saxophonist Stan Getz (• p. 153). The influence of Lester Young inspired Getz to develop a highly melodic style of improvisation that was so distinctive it earned him the nickname "The Sound." His gift for memorable lyricism was developed through the valuable experience of playing in famous swing bands, including those led by Benny Goodman (• p. 84), Woody Herman and Stan Kenton. Kenton's band gained notoriety for promoting a sometimes pretentious progressive jazz that was often censured by critics. In the 1950s the group featured an impressive number of future West Coast and cool-school players, including saxophonists Lee Konitz and Art Pepper, and drummer Shelly Manne.