Dave Brubeck - Time Out
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Free Music Notes for Time Out
Free Music Review: Timeless brilliance.
Hit: 5 Stars
Judging from the other mixed comments on this page, it seems that this album is still being taken several different ways, just as it was in 1959. Want something easy & accessible for the new jazz fan? Like inventive solos and spontaneous group communication? Interested in odd rhythms and time signatures? Looking for something smooth-swinging that'll provide some nice background music? Well, the appeal of Time Out is that it works beautifully on *all* those levels. It started as a simple experiment in branching out beyond steady 4/4 time - which may not seem too rare now, but at the time it was pretty weird stuff - and was never intended to be anything more. But it's one of those works where everything falls into place so naturally it's uncanny, and the result from these sessions really caught on, due largely to the sinuous addictingness of "Take Five." You've probably heard that one somewhere, whether you know it or not.There's more to offer in the way of rhythm, from the catchy alternating 4/4 and 9/8 of "Blue Rondo a la Turk" to the slow-hopping swing of "Three to Get Ready" to the easy-walking 6/4 beat of "Pick Up Sticks." The group has a wonderful chemistry. They listen and respond to each other but it never seems awkward or forced; they're all just having fun, and that's what really makes the whole affair sound so informal and inviting.
I wouldn't hold all its popularity against it - like Miles Davis's Kind of Blue and John Coltrane's A Love Supreme, Time Out is one of those classics that transcends its genre and succeeds wildly without sacrificing any of its quality. And like those other two albums it's highly recommended for jazz neophytes, absolutely essential for any serious collection, and even remains pretty enjoyable to non-jazz fans too. So simply put, if you have any interest in jazz at all, you need this disc. No way around it.
Free Music Review: Thanks, Dave!
Hit: 5 Stars
I remember my excitement when, 46 years ago, I first heard Joe Morello's drum riff intro to Take Five. "What the heck?!" I thought. With its 5/4 time signature, it was so odd, yet so cool. And that amazing drum solo, with its use of space. I played drums along with that album countless times, trying to play that triplet on beat 5 of Take Five as smoothly as Morello tossed it off.
For many listeners, part of the appeal of this album comes from experiencing the group in live performances. I saw the Quartet in Cleveland's Music Carnival. Such joy they brought to the audience! It was raining that day. When the group played "Pennies from Heaven," Gene Wright looked skyward and grimaced. I talked with Joe Morello along with a swarm of other young drummers surrounding him after the concert. He was delighted to share all he knew.
Back to the record, Paul Desmond was famous for his velvety sax tone and graceful musical lines. But he also did amazing things rhythmically which are revealed on close listening.
Strange Meadow Lark starts as a lovely ballad for solo piano, then moves along effortlessly at a medium tempo as the other members join in. The piece closes as it started, serene as a sunset.
Kathy's Waltz was named after Dave's daughter Cathy, but was misspelled on the liner notes. What's remarkable in this tune (and in Strange Meadow Lark) is the mood of bliss: so relaxed, not a care, all is right with the world. No wonder people love this record.
Blue Rondo a la Turk contrasts a regimented uptight rhythm with a loose, free jazz feel. Two opposite attitudes coexisting in the same song. You can feel the tension release when the rhythms change.
Many albums later, Brubeck and otherwise, I fully appreciate the Quartet for getting me excited about jazz. Thanks, Dave and friends for a lifetime of musical enjoyment.
Free Music Review: COOL, CALM, 5 Stars
This was my first exposure to The Dave Brubeck Quartet. My dad had this album in his record collection. As he bought it just for Take Five,and that was the end of him playing the album, so I kind of inhereted it. I enjoyed the album right away, and began collecting albums by Brubeck one after and another, week after week. After listening to this album, I was also introduced to drummer, Joe Morello. And now, after looking for albums by Brubeck, I only get albums by Brubeck with Joe Morello on it, and others with Joe Morello as a sideman. Anyway, this album starts off with one of the three most famous DBQ songs, (blue rondo a la turk, koto song, and take five). I had no idea about time signatures when I first listened to this album, being about age 12. But somehow I managed to play along with on the drums, no problem. For some strange reason, I was able to play all of Brubeck's odd time signature songs like Eleven Four, Castilian Drums, and of course Take Five, as most kids struggle with odd time signature songs, but I picked it up like that! The next song, Strange Park, was allright, displaying some 3/4, 4/4 techniques featured on the next side. The famous Take Five, which I new nothing of its signifigense was cool, especially with the drum intro. I almost instantainiously picked up the 3/4 brush patterns on 3 to get ready, Kathy's Waltz, and Everybody's Jumpin'. This album sounds like a real late night album. It's echo and coolness, sounded like backround music for a cd store, or a coffee shop. Most other Brubeck albums are not like this. Albums like Southern Scene, Gone With The Wind, and Countdown remind of sun, and the outdoors! I dont think there's a jazz fan in the world who doesn't own this on record or cd, or hasn't heard Take Five. Any young kid or an adult who is just getting in to jazz, will love this album, or jazz, for that matter, after listening to this!Free Music Review: Words can't do it justice
Hit: 5 Stars
Like many of the other reviews here, this CD, along with Kind of Blue, was the first jazz CD I purchased. I do remember that my parents owned a copy of Time Out as well, but I was too young to appreciate what a masterpiece it truly is. Where to begin? Take Five deserves every bit of its reputation as the best-selling jazz song of all time. From Joe Morello's sly and understated opening drum licks, to Brubeck's steady rocking piano, to THE absolute greatest sax lines ever, as blown by the inimitable Mr. Paul Desmond (I don't want to sound too much like a teenager here, but Desmond rules!), the song is a pleasure from beginning to end. It is so wonderful that it almost brings tears to my eyes every time I hear it. Every time I play the CD (which is often), I play Take Five first, then play the whole CD, basically because I just can't wait to hear the song. It's that good.Not to be overlooked, Three To Get Ready is a lovely tune, one that makes my two-year old son sway with pleasure in his high chair. I find myself humming Brother Dave's melodious intro. all the time. Kathy's Waltz is equally wonderful, and is all the more special to me, as a father, knowing that Dave wrote it for his daughter. Then...(why am I wasting space--every song on the CD is great!!)
It thrills me to know that Mr. Brubeck is still with us, at almost 80 years of age. I recently read that the marvelous Joe Morello is now totally blind but still teaches drums and plays (!) too. I don't know what has become of Gene Wright, but his fine bass playing should not be overlooked.
The only sad part for me is knowing that the incredible Paul Desmond has been dead for more than 20 years. I haven't had the opportunity to hear all of the great sax players (yet), but Desmond will always be at the top of my list, especially for alto players.
BUY THIS CD!!
Free Music Review: This CD Changed The Rules
Hit: 5 Stars
This album changed the rules in jazz in two important ways. First, it introduced atypical time signatures to jazz performers. Performers were pushing ever other musical limit, including harmony (Miles Davis, Bill Evans, . . .), melody (John Coletrane, Eric Dolphy, . . .) and song structure in general (Ornette Coleman, Cecil Taylor, . . .). 4/4 and 3/4 time signatures were already optional in contemporary classical music and some ethic music. Brubeck opened up this fertile opportunity for the jazz world (and later rock like Led Zeppelin, Jethro Tull and Rush). Perhaps more remarkable was the fact that this album proved that the public was receptive to this new approach to popular music. Brubeck went pioneering and returned with no lethal arrows in him.
The best part about this album is that this new technique was not just a novelty; it was a path to creating timeless compositions like Take Five and Blue Turk a la Rondo. My favorite things about Brubeck are his range of expression (from cool and understated to highly muscular), and the unique voice of Paul Desmond's saxophone. Desmond's instrument has the bird-like sweetness of Charlie Parker combined with the lazer-focused tone of John Coletrane. The alternating solo voices really injects life and breath into the group.
The use of different time signatures did not did not get embraced as widely as one might expect in a genre built on creativity. Some felt that odd time signatures did not "swing" (although Brubeck and others disproved that), some may not have felt comfortable with or inspired by this new approach, and I suspect that the distinctiveness of this contribution by a white man made it "uncool" among many jazz musicians to do something that sounded "like Brubeck". The happy side effect for Brubeck is that this album stands out in jazz like few other works.