Studio album by The Dave Brubeck Quartet
|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|
|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|
Released December 14, 1959
Recorded at CBS 30th Street Studio
|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 A LA TURK
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
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.
THREE TO GET READY
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.
PICK UP STICKS
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.