The Last Set at Newport is a 1971 live album by Dave Brubeck and his quartet recorded at the 1971 Newport Jazz Festival, shortly before a riot ensued. The album peaked at 16 on the Billboard Top Jazz Charts. The album was reviewed by Scott Yanow at Allmusic who wrote that "The Dave Brubeck-Gerry Mulligan quartet is heard in a very inspired performance at the Newport Jazz Festival, just a short time before a riot by the audience closed the festival. These versions of "Take Five" and "Open the Gates" are memorable, but it is the extended "Blues for Newport" that is truly classic." Yanow wrote that the musicians "…constantly challenge each other during this exciting performance, making this set well-worth searching for."

From the iconic groove of his Take Five to the infectious melody he composed in Blue Rondo à la Turk and beyond, Dave Brubeck was an innovative musical figure who left an indelible footprint on the history of jazz. His groundbreaking approach to composition stretched far beyond the barriers of genre, however.

Previously Unreleased Takes from the Original 1959 Sessions.

This is the third and final guest appearance by clarinetist Bill Smith in the place of Paul Desmond with the Dave Brubeck Quartet. Like the earlier record dates, this 1961 session focuses exclusively on Smith's compositions, resulting in a very different sound for the band than its normal mix of the leader's songs and standards. Smith was a member of Brubeck's adventurous octet of the late '40s and, like the pianist, also studied with French composer Darius Milhaud. So the clarinetist is willing to take chances, utilizing a mute on his instrument in "Pan's Pipes," and having drummer Joe Morello use his timpani sticks on the piano strings in the swinging "The Unihorn." Smith proves himself very much in Desmond's league with his witty solos and equally amusing, pun-filled liner notes…

For this entry in Dave Brubeck's series of Time albums, his Quartet with altoist Paul Desmond performs "Elementals" with an orchestra and plays five briefer originals including four that have unusual time signatures; "World's Fair" is in 13/4 time.

Although recorded in sessions in 1962 and 1965, this set of Richard Rodgers tunes by the Dave Brubeck Quartet has a strong unity about it due to the consistent performances of the veteran group. With altoist Paul Desmond and the pianist-leader contributing some fine solos (and bassist Eugene Wright and drummer Joe Morello excellent in support), The Rodgers songs are treated with respect and swing. This comparatively gentle version of "My Favorite Things" would never be mistaken for John Coltrane's.

The Dave Brubeck Quartet suddenly became a Trio for this Vienna concert when, after the previous evening's concert in Hamburg, Paul Desmond went out and never made his plane to Austria. While Paul's lyricism was missed, Dave, Gene, and Joe's playing was incredibly strong, high energy & swinging. To the Brubeck family's knowledge, this is the only recording of Dave, Gene & Joe as a Trio.

This unusual compilation from the Kool Jazz at Midem Festival combines parts of three separate sets. The Dave Brubeck Quartet with clarinetist Bill Smith, bassist Chris Brubeck and drummer Randy Jones, has the most interesting program, utilizing an electronic delay along with Smith's clarinet to add a new touch to "Lover Man," offering an energetic version of "Blue Rondo a la Turk" and introducing a recent work by Brubeck, the very swinging "Ol' Bill Basie" which showcases some fine playing by the leader and some choice bass trombone by son Chris. Guitarist Pat Metheny joins the Heath Brothers for "Move To The Groove; " Metheny's bluesy guitar and Jimmy Heath's soulful tenor sax work well together. B. B. King's set is at best average and an odd choice to include on what is predominantly a jazz record.