Dave Brubeck - Time Out -50th Anniversary (2 CD/1 DVD Legacy Edition)
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CD Details
Artist: Dave BrubeckEdition: Music CD
Audio: English (Unknown)
CD Release Date: 2009-05-26
Music Label: Sony Legacy
Product features:
- BRUBECK DAVE TIME OUT (LEGACY EDITION 2CD+DVD)
- Blue Rondo à la Turk
- Strange Meadow Lark
- Take Five
- Three to Get Ready
- Kathy's Waltz
- Everybody's Jumpin'
- Pick Up Sticks
Music reviews of Time Out -50th Anniversary (2 CD/1 DVD Legacy Edition)
Music Review: An easy listening jazz classic with some classical influence...5/5
Rating: 5 Stars
This is a review of the 2009 release of "Time out" which has an extra cd of live material and a dvd. Haven't checked out the dvd, but the live recording is a nice bonus.
"Take five" is a track I've know of for a few years now, so I thought I'd give the album it came off of a listen. Haven only heard a few jazz albums, but this is the first one which scores full marks from me. I'd describe the album as easy listening and perhaps demonstrating some classical music influence. Since I've recently been listening to jazz on the radio (to get away from songs/acts I'm not into on stations with a "classic hits" format), I've found myself liking the drums, bass and piano or brass instrument set-up. What makes "Time out" so well suited to the tag "easy listening" is the mellow sound of Paul Desmond's alto saxophone. Other jazz bands have a brass instrument which really demand your attention and are quite sharp to the hearing. Not hear. Apart from the double bass player, all the musicians add nice touches to the music...Joe Morello on drums, Paul Desmond on alto saxophone and Dave Brubeck on the piano. Eugene Wright's double bass playing doesn't strike me as interesting but he doesn't detract from the sound of the album, which is good.
Studio album length - 38:36 minutes long. Live album length - 54:19. Not sure how long the DVD runs.
The classic ("/"):
Take five - 5:27 minutes long. Iconic elements to this track include the simple and catchy cymbal riff intro, simple and catchy piano riff and the alto saxophone melody. Morello's drum solo in this track is extended and restrained. Good and interesting solo in any case. His live version is a treat too...he really rocks out on the drums on the second, live cd.
Next best (on second listen - ">[.]"):
Blue Rondo à la Turk - 6:46. Has a sort of familiar piano melody...not sure if I know it from elsewhere...I'm not aware of knowing any other Brubeck compositions apart from "Take five". In any case, the piano plays a catchy motif. One piano melody has a sort of children's chant vibe to it. This is one of those tracks with a classical music vibe to it (in my uninformed opinion). The alto saxophone melody is also nice. A poppy track, which then gets mellow and then has grandiose elements to it...as if for an Ali Baba movie or something of the sort.
The rest:
Strange meadow lark - 7:24. A mellow piece with long piano solos, in a classical style, I think, bookending the track. Brush type percussion and cymbals feature as well.
Three to get ready - 5:27. Has a nice piano melody...a bit classical in style. Brush percussion and regular drum percussion. Another children's song kind of melody played on the piano. This is nice enough, but I prefer it when Brubeck works up a sort of funky rhythm on his piano...it sounds sort of like the piano is doing the equivalent of vocal scatting.
Kathy's waltz - 4:51. A mellow track. Brush style percussion features again. Brubeck's piano has a different tone in this track...sort of tinnier sounding, if that makes sense. A couple of melodies/licks in this song sound familiar...e.g. there's a bit which reminds me of the later Beatles' song "All my loving" (perhaps for the line which goes "Tomorrow I'll miss you") as well as a lick which reminds me of the song "Hello Dolly"...another song which postdates this album.
Everybody's jumpin' - 4:24. A mellow track. Brush percussion and cymbals feature again. The drum tone has an interesting texture and you get a mini drum solo. The piano sometimes plays a couple of notes which brings "Take five" to mind. Track has some modernish pop melodies to it.
Pick up sticks - 4:16. Cymbals on this perhaps have a "Take five" vibe to them as well.
Second CD: Live at Newport - 1961, 1963 and 1964.
Excellent sound quality on this cd. An announcer introduces the band. Brubeck introduces one song too. You can hear the crowd a little bit on this album and a lot towards the end of this cd. Maybe jazz 'purists' will appreciate this live album more than "Time out"...it's less poppier in my view. I'd probably give this cd 7/10.
The best tracks:
Take five - 7:18. Maybe more variety in the drum tones in this version. Perhaps the piano plays a different melody in the interlude. The introductory notes on the piano perhaps recall a Nina Simone song...pretty vague, I know. Morello's drumming is hard hitting on this version, in contrast to his restrained performance on the studio album version. However, I like the subtlety to his drumming on this track as well...his rhythm (and I'm not talking about the stuff he does on the cymbals here). This is the final track on the album and the crowd is rapturous at the end of it.
Koto song - 6:00. ">[.]". The weird symbol on the left denotes that on second listen I found the track slightly noteworthy. A pleasant, mellow track. Interesting piano melody at the start. Piano and double bass playing delicate at times. In fact, the piano is quite faint. Brush percussion and cymbals used.
The rest:
St.Louis blues - 7:55. Laid back jazz track, thanks to the alto saxophone. Piano is jaunty though. Drums are off kilter and you get an extended drum solo later, with some solid hitting by Morello. Definitely a track to consider for the tail end of my list on songs with great drum parts to them.
Waltz limp - 4:57. Pretty much a piano and cymbal dominant piece with the latter providing an insistent rhythm. Later you get more alto saxophone and bass.
Since love had its way - 6:19. Busy cymbals dominate in this track then lots of alto saxophone.
Pennies from Heaven - A jaunty track. Some brassy instrumentation...sounds sharper, so I'm not sure if the alto saxophone is still being used. Later the piano plays a recognisable tune...not sure if it's the same one found in "Kathy's waltz"...maybe a bit of a "Hello Dolly" kind of vibe to that part too...or was it "All my loving"?
You go to my head - 9:36. Track book ended by the alto sax. For most of the track though it's a mellow piano piece...which is nice at times. Simple bass and cymbals with the piano doing most of the melody of the track.
Blue Rondo à la Turk - 7:22. By the time I listened to this track the piano lick had become familiar. From 4:44 I heard some familiar piano notes, but I couldn't quite place them. Interesting drumming patterns and I think that a bassy drum is used at times, too. Think that my notes say that the last 25 seconds of the track have a grandiose sounding piano...as in the studio version of the track (presumably).
Recommendations:
Art Blakey and The Jazz Messengers - Moanin'. 75/100. Instrumental jazz album. Good track on it for drum lovers ("The drum thunder suite"). Has a variety of sounds and moods to it. Interesting drumming too.
John Coltrane - Blue train. 72.5/100. Instrumental jazz album. Jaunty, with busy and sharp sounding brass. To this novice the album sounds modern later.
Description of Time Out -50th Anniversary (2 CD/1 DVD Legacy Edition)
The first million-selling album in jazz history.1959 was a banner year for jazz, but no album captured the public's attention like Dave Brubeck's Time Out. "Take Five," the surprise radio hit from Time Out, would enter the record books as the first million-selling jazz instrumental single on the Billboard Hot 100, and "Blue Rondo à la Turk" would become an instant classic. This edition marks the 50th anniversary with an unprecedented presentation of music, images, insight and history, including the chance to hear the classic Brubeck Quartet in top form live at Newport, plus a companion DVD offering a fresh take on the making of this pioneering recording.
The experimental meters of Brubeck's music set Time Out apart from the pack. But the appeal of this album--in 1959 and today--is less in the rules it broke, and more in the sheer sweep and effervescence and pure unadulterated fun of the music. For all his seriousness and ardor, Dave Brubeck had somehow recaptured a sense of childlike wonder in this project. And for that reason, the decades may pass and tastes may change, but it will always be the right time for Time Out.
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