Cheap Time Out (Music) (Dave Brubeck Quartet) Price
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| ARTIST: | Dave Brubeck Quartet |
| CATEGORY: | Music |
| MANUFACTURER: | Sony |
| FEATURES: | Enhanced, Original recording reissued, Original recording remastered |
| TYPE: | Jazz, Pop, Cool, Jazz Music, West Coast Jazz |
| MEDIA: | Audio CD |
| MPN: | 65122 |
| TRACKS: | Blue Rondo A La Turk, Strange Meadow Lark, Take Five, Three To Get Ready, Kathy's Waltz, Everybody's Jumpin', Pick Up Sticks |
| # OF MEDIA: | 1 |
| UPC: | 074646512227 |
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Customer Reviews of Time Out
Time Out for a Timeless Classic This is a reissue of the 1959 studio session. Although Blue Rondo and Take Five are the signature pieces for the Quartet, the other tracks are in keeping with the innovative time signatures 5/4, 6/4 and variations of 4/4 and 3/4 time. What else can you say except it's a classic and belongs in evryone's collection.
A classic !
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>This Cd is just GREAT and such a Jazz classic! The re-mastered version of this Album is absolutely wonderful---sounding so crisp and sharp!
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>The songs speak for themselves, as they are some of Brubeck's most famous hits.
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>This is a highly recommended re-mastered version of Dave's TIME OUT Album!
This CD Changed The Rules
This album changed the rules in jazz in two important ways. First, it introduced atypical time signatures to jazz performers. Performers were pushing ever other musical limit, including harmony (Miles Davis, Bill Evans, . . .), melody (John Coletrane, Eric Dolphy, . . .) and song structure in general (Ornette Coleman, Cecil Taylor, . . .). 4/4 and 3/4 time signatures were already optional in contemporary classical music and some ethic music. Brubeck opened up this fertile opportunity for the jazz world (and later rock like Led Zeppelin, Jethro Tull and Rush). Perhaps more remarkable was the fact that this album proved that the public was receptive to this new approach to popular music. Brubeck went pioneering and returned with no lethal arrows in him.
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>The best part about this album is that this new technique was not just a novelty; it was a path to creating timeless compositions like Take Five and Blue Turk a la Rondo. My favorite things about Brubeck are his range of expression (from cool and understated to highly muscular), and the unique voice of Paul Desmond's saxophone. Desmond's instrument has the bird-like sweetness of Charlie Parker combined with the lazer-focused tone of John Coletrane. The alternating solo voices really injects life and breath into the group.
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>The use of different time signatures did not did not get embraced as widely as one might expect in a genre built on creativity. Some felt that odd time signatures did not "swing" (although Brubeck and others disproved that), some may not have felt comfortable with or inspired by this new approach, and I suspect that the distinctiveness of this contribution by a white man made it "uncool" among many jazz musicians to do something that sounded "like Brubeck". The happy side effect for Brubeck is that this album stands out in jazz like few other works.