As I have already
mentioned this album was revolutionary for its exploration of unique time
signatures of which some traditional jazz critics derided Brubeck for breaking
with traditional modes and methods. However this move was a great decision on
the part of composers Brubeck and Paul Desmond and gave the material a
different feel from other jazz records of the time. Opening track “Blue Rondo a
La Turk” my favourite track on the album and one of the greatest jazz pieces of
all time employs 9/8 time in its famous Turkish influenced opening motif. A flourish
of piano and sax in unison in the form of a 2-2-3 subdivision was taken from
Zeybeck dance music, a traditional form of Turkish folk music of which Brubeck
encountered while on a tour of Eurasia. When listening to this opening motif you
immediately think this is quite different and in no way typical jazz but more Spanish/Middle
Eastern in nature. The motif lasts for nearly two minutes before finally the
cool jazz which dominates the album comes in, slowing things down to a more
traditional jazz tempo with sax and piano playing off each other with double
bass and drums in support.
There is so much going
on, on this album musically for the listener to keep interested throughout whether
it’s the soloing, little motifs within pieces, or the subtle rhythmic and tonal
qualities of the individual pieces which vary from track to track. This is
completely down to the musicians on this record who were some of the premier
jazz musicians of the day, and are still held up as masters of their craft.
Dave Brubeck the band leader was an amazing jazz composer and arranger – one of
the best – while his piano playing is premier, particularly in his ability to
mix his up his style of playing between soft flourishes and heavy outbursts of
keyboard pounding. Paul Desmond’s alto sax playing is one of the highlights of
this record, playing that draws the listener in with its warmth and feeling. He
can lay claim to having written and performed one of the most recognisable saxophone
parts in the history of music as heard on the fabulously innovative “Take Five”,
while throughout this album his light melodic tone on the sax floats effortlessly
along over the other instruments. Joe Morello’s drumming is also an album
standout for me, particularly his amazing touch and feel as a drummer, and also
in his ability to hold down many of the complex beats that the compositions on
this record have. His dexterity as a drummer is seen on tracks like “Take Five”
and “Three to Get Ready” where he plays some seriously innovative and complex
drum patterns, and where as a listener I sit in amazement as to how he can keep
time so immaculately to the point where you wouldn’t even need a metronome.
Interestingly enough on the track “Kathy’s Waltz” if you zone in and isolate
the drum sound his drumming actually sounds like a steam train travelling along
the tracks, peculiar yes but not surprising considering this man’s touch with
the sticks in hand.
Time Out was a great commercial success on
its release reaching number two on the Billboard album charts, while it was the
first ever jazz album to be certified platinum. It also went on to become the
first jazz album to sell a million copies and is now one of the most well known
and critically acclaimed jazz albums of all time. It is one my favourite jazz
records and is no doubt one of the best ever to be released; it is also very accessible
as a jazz record for all music listeners largely because of its laid back
nature and intimate sound. I must also say that it is this laid back nature of
cool jazz that means albums like this one can be listened to in a wide variety
of social settings whether it be over dinner, having a quiet night in with a
wine, or as background music while entertaining guests. The sky’s the limit really
when this music is concerned as it is all encompassing, and without sounding
pretentious transcends time and space with its beauty. A must listen for anyone
who can appreciate good music and musical skill.
A- Sam
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