Dave Brubeck - Time Out
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Free Music Notes for Time Out
Free Music Review: A Response For Aaron
Hit: 5 Stars
Here is an album which broke new molds in the jazz idiom; exploring complex melodic improvisations with odd time signatures, recorded beautifully with lots of space and open live feeling. Now since music is music and I would never expect everyone to like the same things, I cannot guarantee that you will enjoy this album as much as I do.
However, I can guarantee that some people who make reviews on this website are total morons and their opinions aren't worth the text that shows up on your monitor. Case in point, Aaron's review.
To sit there and tell people that a classic work which has obvously stood teh test of time, made by musicians that have been highly respected as true greats in their field is no good shows a lack of understanding about how music is created.
There are facts in this world and there are opinions. Opinions measure the amount of enjoyment music brings us. Opinions are personal and need not be supported.
However, there are facts too. Facts such as a player's skill on their instrument. Skills can be measured in definate ways. One can tell when a skilled player is at their instrument, regardless of whether we enjoy what they are playing. That is my indictment of this person's inconsiderate review. To say that these musicians are bad musicians is completely irresponsible journalism. These musicians are fabulously skilled on their instruments; dead on with their timing and displaying flawless control over their creative intentions.
Just because you don't personally respond to a sound does not give you the right to say that someone's musicianship is lacking. That is what is wrong with criticism; too much of it is our own stupid opinion and not enough evaluation on the actual work and its artistic integrity matched to it skillful execution.
Just because you don't prefer to listen to something, don't ruin it by telling others not to like it either. Am I supposed to feel like some sort of a musical idiot now just because you insist that this album is so bad and that I have been enjoying it so much? I guess that means anyone who likes this album doesn't know good music, and anyone who thinks that Joe Morello is an excellent drummer has no idea what drumming is?
I would love to see you play a drum solo in 5/4 time and make it so classic, so great, that people will still care to love it 40+ years later. I happen to be a drummer, and I also happen to be friends with more than my share of other drummers. And guess what, they all agree that Joe Morello is one of the greatest that ever lived. You know who else said that on several occassions? Buddy Rich. But I guess you think he is also "terrifically bad."
Another audacious and stupid comment you made regarded the color line in jazz. Arts, especially jazz are not here to seperate people, but instead, to bring them together. You must remember that jazz would not exist if not for white music as much as it would for black music. If you knew anything at all about the history of this music, you would know damn well that it was born out of the mixture of Western music and the music of the slaves. Jazz is the sound of America not because it is black or white, but because it is everything. Jazz has grown from its beginnings to include the music of the Cajun peoples, the black slaves, the Irish immigrants, the Italians...even the music of Jewish people as Benny Goodman included Klezmer sounds in his repertoire. Take the classic "Sing, Sing, Sing" for example. Here is a song written by an Italian-American (Prima) adapted and arranged by a Jew, and performed in the Jazz idiom (Anglo-African) by a mixture of white, black, and jewish musicians. And yet here you are saying that Dave Brubeck ripped off a black art? Get a grip and read some books. Try to know what you are talking about before you shove off with your ignorant reviews. I find your comments disgusting and tasteless.
And just for your information, in this recording, that "terrifically bad" bass player is a black person. Again showing how much research you did before opening your mouth.
As my own critique of this disc, I would say that I highly enjoy it. I find the solos to be exciting and innovative, and the tunes are well written and well put together.
The only bad music there is in this whole world is music that is made by corporations for sale to large audiences with no integrity and no meaning. That is the only "bad" music in this whole world. The rest is all our own stupid opinions. It's very easy to sit back and critique other peoples' hard and long efforts and contribuations to the world of art. Very easy to sit there and tell others what is good and bad.
Very difficult to make something of your own.
I hope when you do, someone tells you how much you stink.
Of course that's just my opinion, I could be wrong.
Free Music Review: Always remain a timeless masterpiece in the world of jazz
Hit: 5 Stars
As to say, Dave Brubeck is such a genius. Y'know he can kick his hearts out when he's making music today. I'm blessed that I picked this on the mail @ Jazz Heritage for .99 each (y'know a discount off the regular price which 6.99, 7.99 or sumthin like that.) Well don't have to get too much detail. Ok back to the album as I said this is sure is good start for all jazz lovers especially jazz-beginners for those that are involved into other music like rock, rap, hip-hop, gospel, R&B, maybe even classical or opera, etc. For those who were involved into the classic breakthroughs of Miles Davis' KIND OF BLUE, John Coltrane's MY FAVORITE THINGS, BLUE TRAIN, A LOVE SUPREME, etc., Ray Charles' GENIUS OF RAY CHARLES, GENIUS + SOUL = JAZZ/MY KIND OF JAZZ, Quincy Jones' THIS IS HOW I FEEL ABOUT JAZZ, WALKING IN SPACE, QUINTESSANCE, Q LIVE IN PARIS, etc., Duke Ellington's BLACK BROWN AND BEIGE, JAZZ PARTY, ANATOMY OF A MURDER SOUNDTRACK, LIVE AT NEWPORT '56, Count Basie's THE ATOMIC COUNT BASIE, FIRST TIME: THE COUNT MEETS THE DUKE, incl. similar other albums like Marvin Gaye's WHAT'S GOING ON, TROUBLE MAN SOUNDTRACK, THE MOODS OF MARVIN GAYE, M.P.G, A TRIBUTE TO NAT KING COLE, LET'S GET IT ON, any Stevie Wonder album from SONGS IN THE KEY OF LIFE, TALKING BOOK, MUSIC OF MY MIND, FULLFILLING FIRST FINALE, ORIGINAL MUSIQUARIUM, AT THE CLOSE OF THE CENTURY, the 2-album anthology set LOOKING BACK ('cuz it's been out-of-print for yrs. and seeking to be re-issued pretty soon, I still have the 2 cassette tapes which are completely a bit worn out but not all the time but ready to get 'nother 1 as necessary on gemm.com or maybe on either @ the used music stores or thrift stores which I go all the time. 'nuff said), or maybe even into the jazz-rap evolution of Common's RESURRECTION, LIKE WATER FOR CHOCOLATE, ONE DAY IT'LL ALL MAKE SENSE, or even the latest BE, Tribe Called Quest's 3+ classic albums from PEOPLE..., LOW END, and MARAUDERS, Digable Planets, Guru, Gang Starr, Dream Warriors, Jeru the Damaja, K-oS, Talib Kweli, Black Eyed Peas, Fresh Prince and DJ Jazzy Jeff, Ronny Jordan, The Rebirth of Cool Series, Us3, The Fugees, OutKast, Impromp2, Jazzhole, just to name a few. Y'know there's alot 'mo recommend u gotta have and hold on to if u wanna be a part of the curriclum of jazz and popular music. 'Specially classical which I totally put down.
Ok while listening to the album, I hear the two type'a songs that everybody's been talkin' and Dave Brubeck was best known 4 "Blue Rondo a La Turk" (once remade by my man Mr. Al Jarreau, who is also a pleasure to listen, enjoy and relax w/ his music, love how he scats and sings on everything, I dig him alot. Y'know it's off the 1981 platinum disc BREAKIN AWAY which I have 'cuz it's my all-time favorite jazz album in the world since George Benson whom I listen to alot 'cuz he's my main artist) and then "Take Five" which alot a ppl been remaking all over the yrs and was written by one of the members of the Dave Brubeck Quartet who passed in 1977 is Mr. Paul Desmond, the alto saxophonist, who went on to perform solo acts on his own and collaborating w/ other artists as well. He sure has unique style and much focus to his playing ability and improvising. As w/ the rest of the members like Eugene Wright on bass and Joe Morello all have a twist when they're doin rhythm on each melody and song they perform w/ Dave who is the leader of the quartet or maybe Paul would be the leader by any chance. I may need to research that a lil bit more.
Ok that's gonna wrap it up 4 me. I may do another review which I haven't started yet on this album. Same w/ Miles Davis' albums, John Coltrane, Grover Washington, Marvin Gaye, Quincy Jones, 2Pac, Mase, etc. which I do now on Epinions whether I'm not on Amazon all the time. You can catch me doin' alot 'mo reviews at my own website from Epinions at www.epinions.com/milesdavisfan.
This 1959 masterpiece which I said will stand time in the jazz industry and mostly in popular music for days, months and yrs. to come. This was recorded the same yr. when Miles Davis' put out KIND OF BLUE, Duke Ellington put out JAZZ PARTY, Charles Mingus put on MINGUS AH UM, among others. I had on my mind one day that I may be a composer, conductor, arranger, producer you know doing local acts or songs for other artists all around the area 'cross the country. Even tho I real good playing the trumpet, I got the ability to lead a band or lead a choir or sumthin like that also. God bless my heart.
Free Music Review: Emotional Glue
Hit: 5 Stars
It seems like just yesterday....
I was fourteen years old and I couldn't sleep. I walked into the den and turned on our 14" RCA color television. Imagine...I had to turn it on by hand...I flopped on the rust colored couch and lucky for me the channel was already on channel 4. Johnny Carson was on. Oh, my God, I was a HUGE Johnny Carson fan.
Who was on tonight?
To be honest with you, I forgot the other guests he had on that evening but I do remember that the Dave Brubeck quartet was on. Now you have to understand that I was only fourteen and at that age you really don't know your [...] from a hole in the ground. Fortunately, enough for me I grew up around a lot of music so I at least had developed a tolerance for other kinds of music besides those groups I favored; Led Zeppelin, Neil Young and Crazy Horse, Buffalo Springfield, etc.
Well, anyway, Johnny introduced them and said they were going to take the show out with the classic, 'Take Five'. Okay, how many of you have ever heard a piece of music for the first time and KNEW that it wasn't just a piece of music, but it was actually a piece of your soul?
That night changed me. It transformed me. It renewed me. It baptized me in jazz' Holy Waters and I have never ever been the same. That next day I couldn't think of anything but getting my hands on a record by Dave Brubeck so when the final bell rang at school, I was literally on the path to Mecca. I walked from school to the nearest record store undeterred in my focus to return home with a Dave Brubeck album.
I got home late that evening...like around 5PM or so...my dad bellowed out, "Where have you been, young man?" No response. I just had to get the cellophane off that record and play it on the Realistic Stero that was next to the television of destiny. My dad followed me into the room. "John, I said where have you-------"
The music kicked in.
"Oh", my dad's attitude immediately shifted, "Dave Brubeck. I like him." And we sat there, my dad with a glass of wine in his hand and me with an A&W Rootbeer in our sage green Lazy-Boy recliners listening to some of the greatest music I had ever heard. It was something we could do as father and son. My dad wasn't athletic so we never really tossed around a football or baseball and he wasn't really mechanical so we never worked on household projects together, he was intellectual, an English Professor and his idea of fun was conjugating verbs, but somehow this music infected/affected both of us. It kind of acted as an "emotional glue" that held our relationship in place even when it was on shakey ground.
I want to say that this music is incredible...and it is...but what's even more incredible is how open and receptive I was to it; how I let it change my life without any kind of resistance or force, but with a kind of "Prodigal Son" embracing. You see, it was always there...waiting for me...and when I finally turned around to notice it, it came rushing to greet me, loving me, and giving me everything it had to offer.
I love this music. I love my dad. I love this life.
Peace & Blessings, everyone...
john "the Light Coach"
Free Music Review: Essential for Jazz Fans
Hit: 5 Stars
In 1960, the Dave Brubeck Quartet (Dave Brubeck on piano, Paul Desmond on alto sax, Eugene Wright on bass, and Joe Morello on drums) released the classic "Time Out" album. This album consists of experimentations with odd time signatures, and it results in one of the best and most unique jazz albums ever made. The whole album is amazing, but I think the first three tracks are the best."Blue Rondo A La Turk" kicks off the album with a pulsating 9/8 melody. It builds in intensity and then all of a sudden explodes into a 4/4 F blues as Paul Desmond solos with his cool alto tone. Following Desmond, Brubeck adds his own highly memorable solo. It's bluesy and cool at first, then he adds his trademark block chords to end the solo.
"Strange Meadow Lark" is a beautiful track. Brubeck plays the melody solo on piano, and his playing of this song is like a dream. The rest of the band kicks in for Desmond's solo which seems to breeze by; it compliments the beauty of this song well. Brubeck follows and adds his own memorable solo as the song returns to Brubeck playing solo piano.
"Take Five", the third track, is the Quartet's most famous song, as it was the first jazz instrumental to reach number one. It is in 5/4 time, and Brubeck strictly plays a constant vamp so the rest of the band doesn't lose their place while soloing. Desmond plays the cool, soothing melody and solos well, but the standout solo here is drummer Joe Morello's. I believe Morello is one of the best jazz drummers of all time, and while he does better solos than the one on "Take Five", his "Take Five" solo is awesome, as he manages to keep in 5/4 time and still deliver a superb drum solo.
The rest of the album seems to go downhill from these three tracks, but still remains a superb album. "Three To Get Ready" is one of the most interesting songs Brubeck ever made. Its metric pattern is: 2 meters of 3/4, 2 meters of 4/4. Brubeck and Desmond alternate playing the melody while the other one solos, and it is very interesting to see the two interact with each other.
Both "Kathy's Waltz" and "Everybody's Jumpin'" feature impressive solos and catchy melodies, but "Pick Up Sticks" is an awesome melody and a Hell of a way to finish off one of the best jazz albums I have heard. Brubeck plays a rivetting solo after Desmond's cool floating alto sax solo.
This album is an experimentation with odd time signatures, and the results were superb. And the amazing thing is that the Dave Brubeck Quartet swingings just as naturally with 3/4 or 5/4 or 9/8 as jazz musicians do with 4/4 or 6/8. The experimentation and originality of this album make it essential for all jazz fans. It seal Brubeck's place in jazz history and laid the groundwork that the Quartet would use to develop even more amazing solos. Indeed, the Quartet was just beginning to entertain.
Free Music Review: A Timeless Recording
Hit: 5 Stars
In sixth grade, which is more years ago than I care to remember, I had a music teacher who taught me, or at least attempted to teach me the clarinet. He did not create a budding musician, but he did introduce me to all sorts of music which I am sure helped instill a love of music in me. He was a classical oboist, who had once played with a major symphony orchestra, but an accident prevented him from continuing this career and spent the rest of his musical life teaching young children, most of whom only wanted a reason to leave class, how to play various wind instruments. If he sensed that young people in his charge were truly interested in music, regardless of ability, he organized a special section where he not only taught the instrument, but played recordings of great musicians. One recording he played for us was an LP version of TIME OUT by The Dave Brubeck Quartet. We thought "Blue Rondo a Turk" was humorous and loved "Take Five." I enjoyed the music so much I asked to borrow the album, which he agreed to, listened to it at home, and like any klutzy sixth grader, I scratched it and it skipped across "Everybody's Jumpin". My parents did replace it.
The reason I share this little anecdote is not to stroll down memory lane, but to share a story about a recording that is now a classic and how much these great recordings can add to a person's love of music. Brubeck's sound is instantly recognizable to many listeners today, has inspired countless others, and is a part of our musical heritage. Critics praised the work when it was first released and audiences loved it. It was one of the first jazz albums to top the Billboard album charts in the general category. I have quiet a few jazz recordings in my collection, many by great performers, but every time I listen to this collection I get a sense of something authentic and original. I recently listened to the recording with young listeners nearby, and in an age of music generated and inspired by who knows what, pieces like "Take Five," "Blue Rondo a Turk," and "Kathy's Waltz" proved they still have a magical appeal to people of all ages.
To my music teacher who played excerpts from this album, thank-you not for getting my classmates and me out of science class, but for exposing us to great music. And thank-you to The Dave Brubeck Quartet for giving us music that will last a lifetime.