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 it's 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, All Music Guide
Although the album was intended as an experiment (Columbia president Goddard Lieberson was willing to chance releasing it) and
received negative reviews by critics upon its release, it became one of the best-known and biggest-selling jazz albums, reaching
number two in the U.S.Billboard "Pop
Albums" chart, and produced one single — Paul
Desmond's "Take Five" — that reached number five in the Billboard "Adult Contemporary"
chart.
Although the theme (and the title) of Time Out is non-common-time signatures, things are not quite so simple. "Blue
Rondo à la Turk" starts in 9/8 (the rhythm of the Turkish zeybek, equivalent of the
Greek zeibekiko), but alternates with 4/4, while "Strange Meadow Lark" is too flexible
to be pinned down to a particular time signature, though there are hints of waltz time. "Take Five" ("supposed to be a
Joe Morello drum solo", according to Desmond) is in 5/4 throughout. "Three to Get Ready"
begins in waltz-time, after which it begins to alternate between two measures of 3/4 (the waltz-time), and two of 4/4. "Kathy's
Waltz" (misspelt after Brubeck's daughter, Cathy) starts in 4/4, and only later switches to double-waltz time, before merging the
two. "Everybody's Jumpin' " is mainly in a very flexible 6/4, while "Pick Up Sticks" firms that up into a clear and steady
6/4.
Aside from all this, Desmond has a habit of smoothing the time into something nearer 4/4 as he plays. Partly because of this,
but mainly because of the skill and jazz sensibilities of the musicians, the complex and non-jazz rhythms don't stop the music
from swinging.
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