THE DAVE BRUBECK QUARTET - "Time In"

Original released on LP Columbia CBS CS 9312

(US, 1966)

It's easy to underestimate Dave Brubeck - I used to. He was the most popular jazz man during the 1950s and '60s for people who didn't listen to jazz, he produces humable tunes, he's white and his music will never shake you up. But only the last of these is a real criticism and that points to a limitation in his music than a damning fault. The band consists of Dave Brubeck-Piano, Paul Desmond-Alto Sax, Gene Wright-Bass, and Joe Morello-Drums. Teo Macero was the Producer. "Time In" is a fine Brubeck album, almost completely without commercial traits. There's Bebop, West-Coast Cool Jazz, Stravinsky-isms and lots of Brubeck-isms showcasing him as one of Jazz's finest pianists. And the band, too, is stellar. The set is quite varied. "40 Days" is another 5/4 tune but completely different from "Take Five". "Softly, William, Softly" is one of Brubeck's finest ballads. The other ballad, "Lonesome", follows close. Also otherwise, no downers. If you're looking for vintage Brubeck from the sixties, grab this one. And you still have 3 bonus tracks - "Watusi Drums" is excelent! (in RateYourMusic)

DAVE BRUBECK - "Time Out"

Original released on LP Columbia 
CS 8192 (stereo) / CL 1397 (mono)

(US, 1959)

Dave Brubeck's defining masterpiece, "Time Out" is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. It was a risky move - Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous "Take Five," "Time Out" became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because "Time Out" is full of challenges both subtle and overt - it's just that they're not jarring. Brubeck's classic "Blue Rondo à la Turk" blends jazz with classical form and Turkish folk rhythms, while "Take Five," despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain "Time Out" as its become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated - it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection. (Steve Huey in AllMusic)