![]() ![]() That’s a testament to Brubeck and Desmond’s abilities as composers, because Time Out is full of challenges both subtle and overt - it’s just that they’re not jarring. ![]() Buoyed by a hit single in altoist Paul Desmond’s ubiquitous “Take Five,” Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. But for once, public taste was more advanced than that of the critics. It was a risky move - Brubeck’s record company wasn’t keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz’s rhythmic foundation. Ken Kessler, Hi-Fi News & Record Reviewĭave Brubeck’s defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. By the time they hear the piano on ‘Kathy’s Waltz’, they’ll be hooked. It is the first jazz album to earn a Platinum certification.įrom the very first note of ‘Blue Rondo’, it was clear that this superlative example of a high-res download is destined to convert disbelievers. In 2005, Time Out was inducted into the Library of Congress’ National Recording Registry and the GRAMMY Hall of Fame. It began as a musical experiment showcasing the quartet performing seven original jazz compositions, each in a different time signature and includes the massive hit “Take Five.” It soon became an iconic crossover, spending 164 weeks on the charts. This pivotal outing is widely declared Dave Brubeck’s defining masterpiece and is one of the most innovative jazz albums of all time. Time Out is the groundbreaking double-Platinum jazz classic by The Dave Brubeck Quartet. Studio Masters, Official Digital Download – Source: | Digital Booklet | © Columbia/Legacy NYC, October 1954.The Dave Brubeck Quartet – Time Out (1959/2013)įLAC (tracks) 24 bit/176,4 kHz | Time – 38:46 minutes | 1,74 GB | Genre: Jazz (2) Same except Bob Bates (b) & Joe Dodge (d) replace Wright & Morello. (1) Brubeck (p) Paul Desmond (as) Eugene Wright (b) Joe Morello (d). (1) Blue Rondo À La Turk Strange Meadowlark Take Five Three To Get Ready Kathy’s Waltz Everybody’s Jumpin’ Pick Up Sticks (2) Audrey (41.42) Not to be missed in the unlikely event that you don’t already have it. ![]() A new lease of life perhaps, but it hasn’t been out of print since 1959. This release has good sound on 180-gram vinyl, new notes and brightly coloured cover. It’s odd then that shortly beforehand the altoist had gone to Brubeck and said “Either he goes or I go.” The reply was “He’s going nowhere.” This quartet stayed together until the late 1960s. Take Five was written by Desmond as a feature for Joe Morello. And how did the quartet manage to make playing in 5/4 sound so natural and easy? The bonus track Audrey indicates just how important the change of bass and drums was. Brubeck’s mix of jazz and classical lines required just this measure of support. His solo work on the iconic Take Five consists of short, snappy fragments that are rhythmically exciting but tasteful. Morello’s drums were never about thundering solos at lightning speed but subtlety. Wright was a straightahead bassist with a big sound but without anything fancy. Can you imagine a Brubeck quartet with Jackie McLean on alto, Mingus on bass and Art Blakey on drums? Desmond’s unique, sweet and cool alto was just right. The choice of personnel too was crucial to Brubeck’s plan and these musicians are ideal for this music. The music overall is totally unique to Brubeck, logical in construction and indicates that his music was designed to come out the way it does. This happens more than once and it is noticeable that although exotic time signatures are spotlighted, most solos are in standard time. This album was all about unusual time signatures, and it tears away in 9/8 but as soon as Paul Desmond starts his solo, he’s in a swinging 4/4. Not far behind, in the runner-up spot was Brubeck’s Time Out the single from this LP, Take Five, was the first million-selling jazz record.īlue Rondo À La Turk is up first. Top of the list though and still the bestselling jazz album of all time was Miles Davis’s Kind Of Blue. Mingus recorded Ah Um, Coltrane taped Giant Steps and Ornette Coleman produced his first Atlantic disc with his own group, The Shape Of Jazz To Come. 1959 was a bumper year for classic jazz recordings. ![]()
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