The Auteurs Film & Cast Member Database
Higher quality still for Buck and the Preacher:
Quote:
“It’s more boring for a woman to talk about clothes than for a man to talk of his golf score.”
Bio:
Lilyan Tashman (October 23, 1896 – March 21, 1934) was a Brooklyn-born Jewish American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the bitchy ‘other woman’. She made sixty-six films over the course of her Hollywood career and although never obtained superstar status, her cinematic performances are “sharp, clever and have aged little over the decades.”
Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist’s model in New York City. By 1914 she was an experienced vaudevillian, appearing in Ziegfeld Follies between 1916 and 1918. In 1921, Tashman had a role in her first film, Experience, and over the next decade and a half she appeared in numerous silent films. With her husky contralto singing voice she easily navigated the transition to the talkies.
Tashman married vaudevillian Al Lee in 1914 but they divorced in 1921. She married openly gay actor Edmund Lowe in 1925. Her lesbian affairs in Hollywood were an open secret, and her wardrobe and lavish parties the talk of the town.
She died of cancer in New York City on March 21, 1934, at the age of 37. Her last film, Frankie and Johnny, was released posthumously in 1936.
Lilyan Tashman’s entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood’s comedy The Gold Diggers. The show ran two years with Tashman understudying, and occasionally filling in, for star Ina Claire.
In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio.
In 1925, she appeared in ten films including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and even starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch’s farce So This is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner’s Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good.
She managed the transition to “talkies” easily, making a total of 28, and appeared in some of the very first, including United Artists’s Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as “a very diverting creature […] outrageous and cheerful and goodhearted.”
Lilyan Tashman was the tenth and youngest child of Brooklyn, New York clothing manufacturer Maurice Tashman and his wife Rose. She freelanced as a fashion and artist’s model while attending Girl’s High School in Brooklyn and eventually entered vaudeville. In 1914, she married fellow-vaudevillian Al Lee, but the two separated in 1920 and divorced in 1921.
Tashman was a lesbian and had numerous backstage same-sex liaisons as a New York City chorine and actress. In Hollywood, she was known to initiate sex in rest rooms with women of all ages, and, if repulsed, would forge ahead with a promise of complete silence on the matter and assurances that such sexual activity was common and very pleasureable. In 1928, Tashman was introduced to Greta Garbo and began a relationship with her the same day. The two became inseparable companions. Tashman was a fiercely jealous person however and had frequent altercations with her lovers. By November 1932, Garbo’s patience had worn thin and she ended the relationship, leaving Tashman devastated.
On September 21, 1925, Tashman married openly gay actor and longtime friend Edmund Lowe, presumably to present a heterosexual façade to the world. The two became the darlings of Hollywood reporters and were touted in fan magazines as having “the ideal marriage”. Tashman was described by reporter Gladys Hall as “the most gleaming, glittering, moderne, hard-surfaced, and distingué woman in all of Hollywood”. The couple entertained lavishly at “Lilowe”, their Beverly Hills home, and weekly parties became full-blown orgies with A-list celebrities seeking invitations. Her wardrobe cost $1,000,000 and women around the world clamored for copies of her hats, gowns, and jewelry. Servants were ordered to serve her cats high tea and for Easter brunch she had her dining room painted dark blue to provide a contrast to her blonde hair. She once painted her Malibu home red and white, asked her guests to wear red and white, and even dyed the toilet paper red and white.
In 1932, Tashman entered hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health.
In February 1934 she flew to New York City to film Frankie and Johnny for Republic Pictures but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan’s Home benefit on March 10. When she entered hospital for surgery on March 16 it was too late for the doctors to help her.
Tashman died, age 37, from cancer at The Doctor’s Hospital in New York City on March 21, 1934. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El on Fifth Avenue with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn’s Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.—Wikipedia
Still for The Avenging Quartet (http://mubi.com/films/the-avenging-quartet)
Summary for Colt 38 Special Squad
When his wife becomes the latest innocent victim of a merciless Marseilles crime lord (Ivan Rassimov), police captain Vanni (Marcel Bozzuffi) goes beyond the law to form a secret squad of rogue cops, each armed with an unlicensed 38 Colt revolver. As Vanni and his vigilante crew take back the night bullet by bullet, the Marseillaise joins the game by instigating a wave of bombings that turns the city into a war zone. —NoShame Films
David Hemmings is missing from the cast list of Claude Chabrol’s Blood Relatives
The English title of this film should be “The Lovers on the Bridge.”
Stills for several films
http://mubi.com/films/forest-of-death
http://mubi.com/films/seoul-raiders
http://mubi.com/films/another-meltdown
http://mubi.com/films/love-me-love-my-money
+ Please add this actor http://mubi.com/cast_members/2651 to the film
http://mubi.com/films/martial-angels
http://mubi.com/films/born-to-be-king-young-and-dangerous-6
http://mubi.com/films/young-and-dangerous-the-prequel
http://mubi.com/films/wesleys-mysterious-files
Bio:
Beatriz Costa (born Beatriz da Conceição; 14 December 1907 in Mafra – 15 April 1996 in Lisbon) was a Portuguese actress, the best-known actress of the golden age of Portuguese cinema.—Wikipedia
A better still for
http://mubi.com/films/sunrise
and
http://mubi.com/films/los-olvidados
Another still for
http://mubi.com/films/the-turin-horse
Telmo, I must say I agree with you on Sunrise and Los Olvidados but when it comes to the still in the Turin Horse I think the one MUBI chose it’s really something. It might not show the wind or that incredibly photogenic horse, but when I saw it for the first time that man looked to me like some creature from another world, some evil master. And I also like that fact that it shows a side not so clear in Bela Tarr’s film.
Still for Ernest Scared Stupid http://mubi.com/films/ernest-scared-stupid
Biography for Jim Varney: http://mubi.com/cast_members/32452
James Albert “Jim” Varney, Jr. (June 15, 1949 – February 10, 2000) was an American stand-up comedian, actor, musician, writer, voice artist, and comedian, best known for his role as Ernest P. Worrell, who was used in numerous television commercial campaigns and movies in the following years, giving Varney fame worldwide and playing Jed Clampett in the 1993 movie version of The Beverly Hillbillies.
Varney was born James Albert Varney, Jr., the fourth child and only son of Louise (née Howard; January 14, 1913 – August 22, 1994) and James Albert Varney, Sr. (January 1, 1910 – January 11, 1985)5, on June 15, 1949 in Lexington, Kentucky, where he grew up.
As a child, Varney displayed the ability to memorize long poems and significant portions of material from books, which he used to entertain family and friends. When Varney was a boy, his mother would put the black and white TV on cartoons for him to watch. His mother discovered that Varney quickly began to imitate the cartoon characters, so she started him in children’s theater when he was 8 years old. Varney began his interest in theater as a teenager, winning state titles in drama competitions while a student at Lafayette High School (from which he graduated with the class of 1968) in Lexington. He attended Murray State University at the age of 15, where he portrayed Ebenezer Scrooge in a local theater production, and by 17 he was performing professionally in nightclubs and coffee houses. Varney studied Shakespeare at the Barter Theatre in Virginia and performed in an Opryland folk show its first year of operation in the 1970s. He listed a former teacher, Thelma Beeler, as being one of the main contributing factors in his becoming an actor. When he was 24, Varney was an actor at the Pioneer Playhouse in Danville, Kentucky. The theater was adjacent to an old West Village and prior to the show the audience would tour the village where apprentices would play townsfolk. Varney and the company usually played in the outdoor theater to audiences of only a few dozen people. Varney would regale the young apprentices by throwing knives into trees. He performed in “Blithe Spirit”, “Boeing 707” and an original musical, “Fire on the Mountain.” He once jokingly threatened a long-haired apprentice, John Lino Ponzini, that he would take him up to Hazard, Kentucky where he (Ponzini) wouldn’t make it down Main Street without the townsfolk giving him a crewcut.
Varney’s character Ernest proved so popular that it was spun off into a TV series, Hey Vern, It’s Ernest! and a series of movies in the 1980s and 1990s.1011 Ernest Goes to Camp brought Varney a nomination for “Worst New Star” at the 1987 Golden Raspberry Awards, but the movie was a huge hit, grossing $25 million at the box office.
In 1989, Varney won a Daytime Emmy Award for Outstanding Performer in a Children’s Series for Hey Vern, It’s Ernest (1988). Varney, playing Ernest both times, was nominated for a Razzie Award one year (1988) and then won an Emmy Award the next year (1989).
Other Ernest movies include Ernest Saves Christmas, Slam Dunk Ernest, Ernest Goes to Jail, Ernest Goes to Africa, Ernest Rides Again, Ernest Goes to School, Ernest Scared Stupid, and Ernest in the Army. The Walt Disney World Resort’s Epcot theme park featured Ernest. Epcot’s Cranium Command attraction used the Ernest character in its pre-show as an example of a “lovable, but not the brightest person on the planet” type of person. And in addition to his Ernest Goes to… series, he starred as Ernest in several smaller movies for Carden & Cherry, such as Knowhutimean? Hey Vern, It’s My Family Album; Dr. Otto and the Riddle of the Gloom Beam; and Your World as I See It, all of which showcased his great facility with assuming a wide variety of characters and accents. The Ernest Film Festival (a.k.a. Greatest Hits Volume 1) was released on VHS in 1986. It also contains his television commercials. Greatest Hits Volume 2 was released in 1992. These skits were issued on DVD box sets October 31, 2006, by Mill Creek Entertainment.
Source: wikipedia http://en.wikipedia.org/wiki/Jim_Varney
Quote for Jim Varney: Life’s just a bus stop to somewhere infinitely better.
Image for Jim Varney:
Still for Ernest Saves Christmas: http://mubi.com/films/ernest-saves-christmas
Bio:
Nataša Gollová (27 February 1912 – 29 October 1988) was a Czechoslovak film actress. She appeared in 55 films and television shows between 1930 and 1984.—Wikipedia
Ooops, I think my first images for Jim Varney and some of his films were too small, so:
Ernest Saves Christmas
Ernest Scared Stupid:
Jim Varney:
Stills for several films
http://mubi.com/films/my-kung-fu-sweetheart
http://mubi.com/films/sex-and-the-beauties
http://mubi.com/films/everyday-is-valentine
http://mubi.com/films/second-time-around
http://mubi.com/films/para-para-sakura
http://mubi.com/films/twelve-nights
http://mubi.com/films/legend-of-speed
Quote:
“I tried to sing like a normal person, but i just couldn’t do it. This is the only sound that’s comfortable for me.”
Bio:
Genevieve Waite (born 13 February 1948, Cape Town) is a South African actress, singer and former model. She married John Phillips (of The Mamas & the Papas) on 31 January 1972, and they had two children, Tamerlane Phillips and Bijou Phillips. They divorced in 1985. She later married Norman Buntaine, now separated.
She put out a quirky album of breathy, neo-hipster torch songs in the 1970s that is now a collector’s item due to its rarity and its sexy Richard Avedon cover of the singer bent over in short-shorts and glass platform shoes. Like her films, her music venture has become sought after “cult” item.—WIkipedia
Quote:
“This is someone [Serge Gainsbourg] I had the pleasure to see because I admired him and liked what he wrote. And I liked his shyness, his elegance and his education. It was a very pleasant relationship. . . . I was very impressed that this man worked for me and cared about me . . . "
Bio:
Although she’s best-known as the pretty, perky teenager who won the 1965 Eurovision Song Contest with her hit “Poupee de Cire, Poupee de Son,” French pop singer France Gall has had a much longer and more varied career than that, having released solid records almost non-stop since the early ’60s. Although only a cult figure in most of the rest of the world, Gall is a major star and beloved figure in her native country.
Born Isabelle Gall in Paris on October 9, 1947, Gall was the daughter of French performer and producer, Roger Gall, who had written songs for Edith Piaf and Charles Aznavour. In 1962, at the age of 15, Gall was ushered into the studio by her father to record her debut EP, Ne Sois pas Si Bete. The four-track EP (the standard in French pop music at the time, and the format of most of her releases for the rest of the decade) was an enormous hit, selling 200,000 copies in France thanks both to the irresistible title-track and the absolutely stunning cover photo. Gall released a series of similarly successful pop hits for the next several years, peaking with winning the aforementioned Eurovision Song Contest in 1965. But although many dismissed Gall as a Francophone Lesley Gore, making fluffy and ultra-commercial pop hits with little substance, Gall’s hits from this era stand up far better than most. Only Francoise Hardy was consistently making records up to these standards during this era. Though Gall’s high, breathy voice was admittedly somewhat limited, she made the most of it. Even dopey hits like “Sacre Charlemagne,” a duet with a pair of puppets who were the stars of a children’s show on French TV, have an infectious, zesty charm; meatier tunes, like the sultry jazz-tinged ballad “Pense a Moi” and the brilliant rocker “Laisse Tomber les Filles,” were as good as any single produced in the U.S. or Great Britain at the time.
In 1966, Gall’s public persona shifted into a more mature phase, both musically and personally. The change came with that year’s controversial hit “Les Sucettes.” Though on the surface the Gainsbourg-penned tune was a pretty little song about a young girl and her lollipop, the unmistakable subtext of the sly lyrics meant that the not-yet-18-year-old Gall was singing approvingly (and, she later claimed, completely unknowingly) about oral sex. Les Sucettes and its follow-up, Baby Pop, are among Gall’s finest, musically richer and more varied than her early hits, but every bit as catchy. (During this period of her career, Gall was signed not only to the French division of Philips, but to the German branch of the company, and also released several German-language EPs and albums, mixing translations of her Francophone hits and all-new material.) The psychedelic era found Gall, under Gainsbourg’s guidance, singing increasingly strange songs, like “Teenie Weenie Boppie” (a bizarre tune about a deadly LSD trip that somehow involves Mick Jagger) set to some of Gainsbourg’s most out-there arrangements. The excellent 1968 is Gall’s best album from this period, with “Teenie Weenie Boppie,” the trippy “Nefertiti,” and the slinky, jazzy “Bebe Requin,” perhaps Gall’s sexiest single ever.
Like all of the stars of the ‘60s ye-ye scene, Gall’s career took a downturn in the early ‘70s. No longer a teenager, but without a new persona to redefine herself with, (and without the help of Gainsbourg, whose time was taken by his own albums and those of his wife Jane Birkin), Gall floundered both commercially and artistically. A label change from Philips to BASF in 1972 didn’t help matters, but in 1974, Gall met and married songwriter/producer Michel Berger. Berger took over his wife’s career starting with 1975’s France Gall and re-established her popularity throughout Europe. Berger’s middle of the road soft rock style (think late-era Elton John, with whom Gall recorded a duet, “Les Aveux,” in 1980) is slickly commercial and for the most part, less-inspired than Gall’s ‘60s work, but although her material was by and large weaker, Gall became a much stronger and more technically adept singer during this era. Albums like 1987’s Babacar, 1984’s Debranche, and 1988’s live Tour de France cannot be recommended to those completely averse to mellow “lite” rock, but they have their charms.
Gall’s life took a tragic turn in the ‘90s; Berger died of a heart attack at the age of 46 in 1992, and their daughter Pauline died of cystic fibrosis at the age of 19 in 1997. Gall announced her retirement after Berger’s death, but after reconsidering, she restarted her career with 1996’s France, a tender tribute to her partner and mentor. That same year, a new generation of listeners began discovering her work when Heavenly covered her Serge Gainsbourg-penned hit “Nous ne Sommes pas des Anges” on Operation: Heavenly.—allmusic.com
Stills for several films
http://mubi.com/films/purple-storm
http://mubi.com/films/cop-on-a-mission
http://mubi.com/films/born-wild
http://mubi.com/films/love-undercover
http://mubi.com/films/naked-weapon
http://mubi.com/films/devil-face-angel-heart
http://mubi.com/films/beauty-and-the-breast
Maybe I made a mistake while filling in the information for the submission, but I have a picture for Jusqu’au cou :
Another bunch of film stills
http://mubi.com/films/the-peeping
http://mubi.com/films/enter-the-phoenix
http://mubi.com/films/the-twins-effect-2
http://mubi.com/films/night-corridor
http://mubi.com/films/divergence
http://mubi.com/films/house-of-fury
Also, the cast member Daniel Wu (http://mubi.com/cast_members/35779) is missing in the cast list of some movies. Il should be on:
- New Police Story (http://mubi.com/films/new-police-story)
- Young and Dangerous: The Prequel (http://mubi.com/films/young-and-dangerous-the-prequel)
- Gorgeous (http://mubi.com/films/gorgeous—2)
- Magic Kitchen (http://mubi.com/films/magic-kitchen)
- Rob-B-Hood (http://mubi.com/films/rob-b-hood)
Picture and bio for Jean-Marie Poitevin :
An Enterprising Missionary
As a priest with the Société des Missions étrangères, Jean-Marie Poitevin was a missionary in China from 1933 to 1939. There, he shot many documentary sequences of ethnographic value.
God or Woman?
In 1942, he made À la croisée des chemins, an adaptation of Guy Stein’s play La folle aventure, which had been produced as part of Montreal’s three-hundredth anniversary celebrations. His assistant director on the film was the actor Paul Guèvremont, who played the lead role. Other professional stage actors, including Denise Pelletier and Jean Fontaine, also had major roles in the film.
La folle aventure tells the story of a student “torn between two loves”: his girlfriend and God, who is calling him to the priesthood. He chooses God, of course. The deciding event is a lecture accompanied by documentary images of China that a missionary, Poitevin himself, presents in the student’s college.
The film was the first feature-length sound fiction film produced in Quebec. It was not released commercially, but achieved enormous success in colleges and church parishes. Poitevin went on to make documentary films in various countries, including India and Cuba, while carrying out administrative jobs in his religious community and in various national and international Catholic organisations. —Le cinéma au Québec, au temps du parlant, 1930-1952
Summary for The Valley of the Gwangi
“In circa-1900 Mexico, T.J. Breckenridge, a beautiful cowgirl, hosts a wild west show that is struggling. Former boyfriend Tuck Kirby, working for Buffalo Bill’s wild west show, wants to buy out T.J., but T.J. has an ace she hopes will boost attendence at her show – a tiny horse. The tiny horse, however, comes from The Forbidden Valley and a convoy of gypsies demands the tiny horse be returned to the valley; the horse’s genesis is also known to a British paleontologist, Sir Horace Bromley, working in the nearby desert. T.J., her men, and Tuck eventually find The Forbidden Valley with Bromley, and encounter a litany of living dinosaurs. One, a belligerent Allosaurus, is known as Gwangi by the gypsies, and a running pursuit sidetracks into a bloody battle with a styracosaur and eventually to terror in the outside town.” – imdb
Summary for Your Vice Is a Locked Room And Only I Have The Key
Luigi Pistilli plays a burned-out novelist haunted by the memory of his dead mother and making life miserable for his wife (Anita Strindberg). When his mistress is found slashed to death, the crime initiates a series of bloody slayings that drive the protagonists to the brink of insanity and murder. Edwige Fenech and Ivan Rassimov co-star in this atypical country-set giallo, which owes more than a passing debt to Edgar Allan Poe’s “The Black Cat.”—NoShame Films
http://mubi.com/cast_members/239855 and http://mubi.com/cast_members/21538 are the same person. Please remove Wei Zhao.
Picture profile:
http://mubi.com/films/the-longest-night-in-shanghai
http://mubi.com/films/my-dream-girl
Thrift Store Junkie
Dave Brubeck
Quote:
“There’s a way of playing safe, there’s a way of using tricks and there’s the way I like to play which is dangerously where you’re going to take a chance on making mistakes in order to create something you haven’t created before.”
Bio:
Dave Brubeck has long served as proof that creative jazz and popular success can go together. Although critics who had championed him when he was unknown seemed to scorn him when the Dave Brubeck Quartet became a surprise success, in reality Brubeck never watered down or altered his music in order to gain a wide audience. Creative booking (being one of the first groups to play regularly on college campuses) and a bit of luck resulted in great popularity, and Dave Brubeck remains one of the few household names in jazz.
From nearly the start, Brubeck enjoyed utilizing poly-rhythms and poly-tonality (playing in two keys at once). He had classical training from his mother, but fooled her for a long period by memorizing his lessons and not learning to read music. He studied music at the College of the Pacific during 1938-1942. Brubeck led a service band in General Patton’s Army during World War II and then, in 1946, he started studying at Mills College with the classical composer Darius Milhaud, who encouraged his students to play jazz. During 1946-1949, Brubeck led a group mostly consisting of fellow classmates, and they recorded as the Dave Brubeck Octet; their music (released on Fantasy in 1951) still sounds advanced today, with complex time signatures and some poly-tonality. The octet was too radical to get much work, so Brubeck formed a trio with drummer Cal Tjader (who doubled on vibes) and bassist Ron Crotty. The trio’s Fantasy recordings of 1949-1951 were quite popular in the Bay Area, but the group came to an end when Brubeck hurt his back during a serious swimming accident and was put out of action for months.
Upon his return in 1951, Brubeck was persuaded by altoist Paul Desmond to make the group a quartet. Within two years, the band had become surprisingly popular. Desmond’s cool-toned alto and quick wit fit in well with Brubeck’s often heavy chording and experimental playing; both Brubeck and Desmond had original sounds and styles that owed little to their predecessors. Joe Dodge was the band’s early drummer but, after he tired of the road, the virtuosic Joe Morello took his place in 1956; while the revolving bass chair finally settled on Eugene Wright in 1958. By then, Brubeck had followed his popular series of Fantasy recordings with some big sellers on Columbia, and had appeared on the cover of Time (1954). The huge success of “Take Five” and the Time Out LP in the charts during 1961 was followed by many songs played in “odd” time signatures such as 7/4 and 9/8; the high-quality soloing of the musicians kept these experiments from sounding like gimmicks. Dave and Iola Brubeck (his wife and lyricist) put together an anti-racism show featuring Louis Armstrong (The Real Ambassadors) which was recorded, but its only public appearance was at the Monterey Jazz Festival in the early ’60s.
the Dave Brubeck Quartet constantly traveled around the world until its breakup in 1967. After some time off, during which he wrote religious works, Brubeck came back the following year with a new quartet featuring Gerry Mulligan, although he would have several reunions with Desmond before the altoist’s death in 1977. Brubeck joined with his sons Darius (keyboards), Chris (electric bass and bass trombone), and Danny (drums) in Two Generations of Brubeck in the 1970s. In the early ‘80s, tenor saxophonist Jerry Bergonzi was in the Brubeck Quartet, and beginning in the mid-’80s, clarinetist Bill Smith (who was in the original octet) alternated with altoist Bobby Militello.
There is no shortage of Dave Brubeck records currently available, practically everything he cut for Fantasy, Columbia, Concord, and Telarc are easy to locate. Brubeck, whose compositions “In Your Own Sweet Way,” “The Duke,” and “Blue Rondo a la Turk” have become standards, remained very busy (despite some bouts of bad health) into the 2000s.—allmusic.com