Recognized as one of the greatest jazz albums of all time, the 1959 Dave Brubek Quartet album Time Out is a subtle unity of cool and West Coast jazz. Despite receiving negative reviews upon its release from critics, Colombian president Goddard Lieberson took a chance on this experimental album and introduced to the world what would become one of the best-known and biggest-selling jazz albums.
Time Out reached number two in the U.S. Billboard "Pop Albums" chart, and produced one single - Paul Desmond's "Take Five" - that reached as high as number five in the Billboard Adult Contemporary chart. In 2005, the Library of Commerce selected 50 recordings to be added to the National Recording Registry, Brubek’s hit album being one of them. For those of you compiling your bucket lists, Time Out was additionally included in the book 1001 Albums You Must Hear Before You Die. Neil Fujita provided the cover art for the album.
Brubeck’s Quartet is revered as one of the most outstanding jazz groups of its time. In addition to Mr. Brubeck playing the piano, there was the great Paul Desmond blowing on the alto sax, Eugene Wright slappin’ the bass and Joe Morello bangin’ the drums. The Time Out theme stems from the individual album titles and Brubeck’s unique interest in utilizing various time signatures in his compositions.
Time Out stands with Kind Of Blue by Miles Davis and My Favorite Things from John Coltrane as one of the most-respected LPs of the era. “Blue Rondo a la Turk” and “Take Five” are acknowledged jazz classics. Time Out’s remaining four tracks certainly do not disappoint either.
The record opens with the hectic arrangement of “Blue Rondo,” which, even if the title doesn’t ring a bell, I assure you that everyone has heard it at least once. A common knock on Brubeck, along with other white West Coast players of the period, was that they were too intellectual. “Cool Jazz” is actually a derogatory term used because supposedly the music did not swing. However, with one listen to this track, all bets are off in that department.
The striking “Strange Meadow Lark” follows, featuring some fabulous work on the keys from Brubeck in addition to Desmond‘s sax toward the end. The classic “Take Five” rounds out side one of the original LP. The aura of mystery, odd time signatures and brilliant instrumentation come together to form one of the finest jazz cuts ever.
Brubeck's style ranges from refined to bombastic, evidence of his mother's attempts at classical training and his improvisational skills. His music is most known for employing unusual time signatures and superimposing contrasting rhythms, meters and tonalities.
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