Sonothèque/Jazz/Dave Brubeck/Time Out

Studio album by The Dave Brubeck Quartet
  Dave Brubeck - Time Out (CBS 4606112)
Track Title Year Length Comment Mode Codec Bitrate Size
1 Blue Rondo a La Turk 1959 06:45
Stereo Vorbis 219 11,09 MB
2 Strange Meadow Lark 1959 07:23
Stereo Vorbis 208 11,48 MB
3 Take Five 1959 05:26
Stereo Vorbis 212 8,73 MB
4 Three To Get Ready 1959 05:24
Stereo Vorbis 228 9,28 MB
5 Kathy's Waltz 1959 04:51
Stereo Vorbis 224 8,25 MB
6 Everyboby's Jumpin' 1959 04:25
Stereo Vorbis 225 7,60 MB
7 Pick Up Sticks 1959 04:17
Stereo Vorbis 211 6,95 MB
  7 file(s) Length: 00:38:31 Size: 63,38 MB

  Dave Brubeck Quartet - Time Out - Remastered 24 bits 176400 Hz (2013) resampled at 48 kHz
Track Title Year Length Comment Mode Codec Bitrate Size
1 Blue Rondo à la Turk 1959 06:49
Stereo Vorbis 464 23,15 MB
2 Strange Meadow Lark 1959 07:26
Stereo Vorbis 472 25,63 MB
3 Take Five 1959 05:29
Stereo Vorbis 474 19,06 MB
4 Three To Get Ready 1959 05:27
Stereo Vorbis 479 19,13 MB
5 Kathy's Waltz 1959 04:51
Stereo Vorbis 484 17,30 MB
6 Everybody's Jumpin' 1959 04:25
Stereo Vorbis 486 15,84 MB
7 Pick Up Sticks 1959 04:20
Stereo Vorbis 466 14,92 MB
  7 file(s) Length: 00:38:47 Size: 135,01 MB

(Believe me, you can not only see the difference, you can hear it.)

Released December 14, 1959
Recorded June 25, 1959 (4-6)
July 1, 1959 (2,3)
August 18, 1959 (1,7)
Columbia 30th Street Studio, New York
  • Dave Brubeck - piano
  • Paul Desmond - alto saxophone
  • Eugene Wright - bass
  • Joe Morello - drums
Length: 38:21
Label: Columbia
Sound engineer: Fred Plaut
Cover illustration: Neil Fujita
Producer: Teo Macero
59 Rue des Archives 8 janvier 2017 (podcast www.tsfjazz.com)
Should some cool-minded Martian come to earth and check on the state S of our music, he might play through 10,000 jazz records before he found one that wasn't in common 4/4 time.

Considering the emancipation of jazz in other ways, this is a sobering thought...and an astonishing one. The New Orleans pioneers soon broke free of the tyranny imposed by the easy brass key of B-flat. Men like Coleman Hawkins brought a new chromaticism to jazz. Bird, Diz and Monk broadened its harmonic horizon. Duke Ellington gave it structure, and a wide palette of colors. Yet rhythmically, jazz has not progressed. Born within earshot of the street parade, and with the stirring songs of the Civil War still echoing through the South, jazz music was bounded by the left-right, left-right of marching feet.

Dave Brubeck, pioneer already in so many other fields, is really the first to explore the uncharted seas of compound time. True, some musicians before him experimented with jazz in waltz time, notably Benny Carter and Max Roach. But Dave has gone further, finding still more exotic time signatures, and even laying one rhythm in counterpoint over another.

The outcome of his experiments is this album. Basically it shows the blending of three cultures: the formalism of classical Western music, the freedom of jazz improvisation, and the often complex pulse of African folk music.Brubeck even uses, in the first number, a Turkish folk rhythm.


Blue Rondo à la Turk plunges straight into the most jazz-remote time-signature, 9/8, grouped not in the usual form (8-3-3) but 2-22-3. When the gusty opening section gives way to a more familiar jazz beat, the three eighth-notes have become equivalent to one quarter-note, and an alternating 9/8-4/4 time leads into a fine solo by Paul Desmond. Dave follows, with a characteristically neat transition into the heavy block chords which are a familiar facet of his style, and before long Rondo à la Turk is a stamping, shouting blues. Later the tension is dropped deliberately for Paul’s reentry, and for the alternate double-bars of 9and 4- time which herald the returning theme. The whole piece is in classical rondo form.


Strange Meadow Lark opens with Brubeck playing rubato, though there are overtones of 3s and 4s, and the phrase length is an unusual 10 bars. Dave's performance throughout is simple and expressive, with fine support from Eugene Wright and Joe Morello. Meadow Lark closes with a contribution from the wistful, dream-like saxophone of Paul Desmond.


Take Five is a Desmond composition in 5/4, one of the most defiant time-signatures in all music, for performer and listener alike. Conscious of how easily the listener can lose his way in a quintuple rhythm, Dave plays a constant vamp figure throughout, maintaining it even under Joe Morello's drum solo. It is interesting, to notice how Morello gradually releases himself from the rigidity of the 5/4 pulse, creating intricate and often startling counter-patterns over the piano figure. And contrary to any normal expectation—perhaps even the composer's! — Take Five really swings.


At first hearing, Three to Get Ready promises to be a simple, Haydn-esque waltz theme in C major. But before long it begins to vacillate between 3- and 4- time, and the pattern becomes clear: two bars of 3, followed by two bars of 4. It is a metrical scheme which suits Dave Brubeck down to the ground; his solo here is one of the high spots.


Kathy's Waltz (dedicated to Dave's little daughter) starts in 4, only later breaking into quick waltz time. As in the now famous Someday My Prince Will Come, Dave starts in triple time, then urges his piano into a rocking slow 4. Theoretically it is as if Morello’s three beats had ceased to be the basic pulse, and had become triplets in a slow 4-beat blues—though with Wright's 1-in-a-bar bass as the constant link between piano and drums. The listener who keeps abreast of the cross-rhythms here can congratulate himself on sharing with the Brubeck Quartet an enlightened rhythmic sense. Even feet are useless in following a time experiment of such complexity.


Everybody's Jumpin’ opens without any precise feeling of key, but with a vague impression of 6/4 time, and a strong beat. Joe Morello’s brief drum solo shows again what a superb colorist he is on the canvas of percussion tone.


With Pick Up Sticks, the earlier hint of 6/4 becomes positive. As so often in Brubeck’s time experiments, it is the bass part which supplies the anchor for the listener. This time Eugene Wright plays a regular pattern of six notes: a passacaglia on which Is built the whole structure of this closing number.

The high spot of Pick Up Sticks comes near the close, in a session of commanding piano. This is Brubeck in the grand manner, as exciting as eight brass, but with that feeling of urgent discovery which can never be captured by the arranger’s pen.


In short: Time Out is a first experiment with time, which may well come to be regarded as more than an arrow pointing to the future. Something great has been attempted...and achieved. The very first arrow has found its mark.

Liner notes taken from the original analog release.

Original LP cover: