Dave Brubeck - Time Out
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Music CD Cover
Artist: Dave BrubeckBrand: BRUBECK,DAVE
Edition: Music CD
Format: Original recording reissued, Original recording remastered
CD Release Date: 1997-03-25
Music Label: Sony
Soundtracks:
- Blue Rondo à la Turk
- Strange Meadow Lark
- Take Five
- Three to Get Ready
- Kathy's Waltz
- Everybody's Jumpin'
- Pick Up Sticks
Free Music Notes for Time Out
Free Music Review: Let's analyze this a little bit for the Mr. Know-it-alls out there
Hit: 5 Stars
This is in response to the one star reviewer 'Ivan' who decided to use 5 or 6 feeble lines to vent his personal disgust of the Brubeck Quartet in a primitive, offensive manner as if it had any merit outside his own lack of true discernment and taste by calling them less than 'worthless' and 'liquid sugar.'
First of all, you did not offer any valid or even sensible reasons for your 'opinion' and no coherent argument for hating and taking a dump on one of the most well-liked and highly-regarded jazz groups of all time. All you managed to blab out was that it's 'sugary' or 'liquid sugar.' Well, compared to what? The amount of sweetness someone wants in their coffee or music is a personal taste and some take no sugar at all but there certainly is a general area most people agree on that constitutes too much sweetness, is there not? And what's nauseating 'sweetness' in music then? Too much melody of an obvious, non-refined, non-sophisticated, predictable and cliched kind that's not counterbalanced by other elements within the same composition?
Well, having listened to the music of most of the jazz players of that era and beyond many, many times over the last 25 years, I'd say that the Brubeck Quartet with Desmond is definitely melodic and sweet but rarely exceeding one or one-&-a-half teaspoons of sugar which, furthermore, is always one of many ingredients in a nutritious, gourmet dish of full-bodied flavor and never there simply to make 'liquid sugar' or candy bars or even fancy gourmet pastry or dessert.
Now, less than two teaspoons of sugar, maybe that's still way too much for Mr. Jack-Daniels-in-his-Black-Coffee Wiccan Ivanhoe lumberjack-Outdoorsman over there but for most people it's a pleasant sweetness. When the Brubeck Quartet exceeds two-teaspoons and becomes too 'sugary' it's usually on a standard and not on the Brubeck or Desmond original compositions which all of 'Time-Out' happens to consist of. Desmond is definitely deliberately and tastefully melodic, sometimes a little too much so but he's also a virtuoso, a master musician who can play anything but rarely chooses to show off, whose number one priority is to be at all times, come hell-or-high-water, the KING of laid-back understatement, the master of cool, no matter what tempo or complicated meter he's soloing over (for an even better demonstration than the superb solos on "Time Out" people should check out his mind-blowing zen-master laid-back solo on the volcanically propelled odd-meter tune Eleven-Four on The Brubeck Live At Carnegie Hall album). No one understates like Desmond and that balances out and more than makes up for the occasional over-indulgence in melody or 'sweetness' that still rarely exceeds two teaspoons. Stan Getz is often much sweeter on his bossa nova albums but because the bossa tunes are much more melancholy and downbeat, the bitterness balances out the sweet to make an artful statement.
Desmond is also always balanced out by the deliberately percussive and polyrhythmic approach of Brubeck who has one of the greatest rhythm sections in jazz in Morello and Wright to work against. Just the complexity of compositions alone and the masterful improvisations within that structure should be enough for anyone who understands how difficult it is to play with such control and tightness and telepathic interplay and stay 'cool' despite it all to be in awe of this group. Trying to pigeon-hole and dismiss the Brubeck Quartet as nothing but 'liquid sugar' is lke saying Renoir wasn't a great artist or less of an artist than Picasso because he didn't paint unhappy subjects.
Alas, there is a problem, a certain deep cynicism people have been conditioned with that has nothing to do with true musical merit but which makes them dislike bands like Brubeck or Pat Metheny, whose very popularity fuels the fire against them. The thing that some people tend to confuse with too much 'sweetness' and hold against the Brubeck Quartet is that they are UPBEAT and NON-CYNICAL and cynicism and a certain down-beat, depressed, fed-up-with-it-all attitude seem to be the ultimate requirement of jazz-music to those people. Less immediately hummable melody does tend to go with those other states but so what? Since when was it a requirement for your cynicism to show in your art for it to be considered worthy? So, yes, if you want cynicism and misanthropy and depression being wallowed in and overcome, sometimes magnificently so, definitely go elsewhere but if you want music that is happily transcendent and soaring just for the sake of soaring, flying like a bird, not ignoring but rising above all negativity and floating, then the Brubeck Quartet is the ULTIMATE band for that.
And did I mention that they are the EPITOME or ultimate musical expression of what it really means to be an American at its best, or what the real American personality is like or at least used to be like at its best? Yes, the very American vibe exemplified by famous personalities like James Garner, Jimmy Stewart, John Wayne, Cary Grant, Bill Cosby, Andy Griffith, Rosalind Russell, Clark Gable, Myrna Loy, Carole Lombarde, Jack Lemmon, Bob Newhart, Henry Fonda, Peter Fonda, Steve McQueen, George Clooney, Diane Keaton, even Jack Nicholson. Generally friendly, non-cynical, forward-looking, kind and forgiving with ample reserves and not worrying too much about ending up anybody's fool. I know, you're going to say that that breed is now extinct but why should America-at-its-best be extinct or considered a naive state of being while America-at-its-worst is being trumpeted out every media outlet of the propaganda ministry bought-and-paid-for by the already entrenched fascist state? (Most of my reviews include ruminations about the connections of art and politics, so if you don't think that politics and art are connected you should stop reading now). Yes, make no mistake about it, the Brubeck Quartet is the key to Americans re-discovering the best in themselves, hence its undying popularity. And it was for this very quality that the US State Department hired them and cynically used them to do "goodwill" tours of places as far-off as Turkey, Pakistan, India, even Afghanistan, Iran and Iraq while other agencies of the same government were busy supporting their installed dictators and such. I'm sure the Brubeck Quartet themselves saw nothing but the positive in being 'ambassadors' of art and I'm certainly not implying they were blind. So, my question to myself was: where did the non-hypocritical, honest aspects of all that in-retrospect 'hypocritical' goodwill go? Wherever it went in day-to-day-life, the genie's in the bottle on Brubeck albums. All it takes is one spin of "Time Out" or "Brubeck Live At Carnegie Hall" for it all to come back, in peak symbolic manifestation, radiant and untarnished by untempered actions and psychotic irrationality, heralding not hypocricy and a veil for charlatans and double-dealers but honest-to-goodness, actual Americans of goodwill, the Thomas Jeffersons, Andrew Jacksons, Henry David Thoreaus, Henry Fords, Charles Lindberghs, Ezra Pounds, Eustace Mullinses, Jeff Renses, Michael Riveros, Judy Woods, Ace Bakers, Simon Shacks, Charles Giulianis and Daryl Bradford Smiths of the world, people you can pretty much trust with your life. The Brubeck Quartet is one of those groups you can trust with your life and even with your children's life because they will be there forever as transcendent testament to the America that was.
Time Out Poster
Containing the monster hit Take Five, Time Out firmly establishes the Dave Brubeck Quartet outside of the jazz world. This seminal recording is highlighted by the moody arrangements and saxophone work of Paul Desmond.Boasting the first jazz instrumental to sell a million copies, the Paul Desmond-penned "Take Five," Time Out captures the celebrated jazz quartet at the height of both its popularity and its powers. Recorded in 1959, the album combines superb performances by pianist Brubeck, alto saxophonist Desmond, drummer Joe Morrello and bassist Gene Wright. Along with "Take Five," the album features another one of the group's signature compositions, "Blue Rondo a la Turk." Though influenced by the West Coast-cool school, Brubeck's greatest interest and contribution to jazz was the use of irregular meters in composition, which he did with great flair. Much of the band's appeal is due to Desmond, whose airy tone and fluid attack often carried the band's already strong performances to another level. Together, he and Brubeck proved one of the most potent pairings of the era. --Fred Goodman
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