Dave Brubeck Quartet - Time Further Out (1961)

Dave Brubeck Quartet - Time Further Out (1961)

 It's a Raggy Waltz
Bluette
Charles Matthew Hallelujah
Far More Blues
Farm More Drums
Unsquare Dance
Bru's Boogie Woogie
Blue Shadows in the Street

Review :  

Time Further Out extends upon the concepts first enunciated on the Brubeck Quartet's surprise hit Time Out, but in this case with the organizing principles involving the leader's varied compositional treatments of the blues--traditional and otherwise. Thus a darkly ruminative tune such as "Bluette" treats a fairly standard 12-bar form in a very non-standard manner, interpolating a variety of classical devices that suggest the melodic influence of Chopin and the contrapuntal devices of Bach in its treatment, with a yearning alto solo from saxophonist Paul Desmond that suggests the emotional content of a blues, without specifically referring to standard devices. As if to italicize his band's mastery of polymeter, pianist Brubeck treats the fifth, sixth, seventh, eighth, and ninth tunes in corresponding meters, to particular effect on the 7/4 hoedown of "Unsquare Dance," the 8/8 barrelhouse changes of "Bru's Boogie Woogie" and the engaging dissonances of his 9/8 mood piece "Blue Shadows in the Street." And on "Far More Drums," drummer Joe Morello displays a mastery of 5/4 metric variations and African-styled polyrhythms that was unheard of for that time, save for percussive grandmasters such as Max Roach.

                                     

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Dave Brubeck Quartet - Time Out (1959)

Dave Brubeck Quartet - Time Out (1959)

1. Blue Rondo A La Turk
2. Strange Meadow Lark
3. Take Five
4. Three To Get Ready
5. Kathy's Waltz
6. Everybody's Jumpin'
7. Pick Up Sticks

Review : 

Boasting the first jazz instrumental to sell a million copies, the Paul Desmond-penned "Take Five," Time Out captures the celebrated jazz quartet at the height of both its popularity and its powers. Recorded in 1959, the album combines superb performances by pianist Brubeck, alto saxophonist Desmond, drummer Joe Morrello and bassist Gene Wright. Along with "Take Five," the album features another one of the group's signature compositions, "Blue Rondo a la Turk." Though influenced by the West Coast-cool school, Brubeck's greatest interest and contribution to jazz was the use of irregular meters in composition, which he did with great flair. Much of the band's appeal is due to Desmond, whose airy tone and fluid attack often carried the band's already strong performances to another level. Together, he and Brubeck proved one of the most potent pairings of the era. 

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Dave Brubeck Quartet - Jazz At Oberlin (1953)

Dave Brubeck Quartet - Jazz At Oberlin (1953)

1. These Foolish Things (Remind Me Of You)
2. Perdido
3. Stardust
4. The Way You Look Tonight
5. How High The Moon

Review :  

Dave Brubeck has enjoyed the status of "legend" for so many years now, it is hard to imagine the impact this concert had in 1953. The Brubeck Quartet’s appeared at Oberlin College in March of that year was something of a breakthrough for a couple of reasons. Until then, jazz was still associated with “gin-joints,” and a pretty unsavory lifestyle. Brubeck’s clean, clear arrangements showed an audience of classical music snobs just how sophisticated his music could be. The fact that Jazz At Oberlin was one of the first commercially released live jazz recordings is of no small import either.

Brubeck’s cohorts that night included bassist Ron Crotty, drummer Lloyd Davis, and longtime collaborator Paul Desmond on saxophone. All four were on fire, and in Davis’ case, it was almost literal as he was suffering from a 103 degree temperature.

“These Foolish Things (Remind Me Of You)” opens the set up with some fine sax from Desmond. When Brubeck takes a piano solo, the crowd erupts, as it would throughout the night. The classic “Perdido” follows, and while the song is most often linked to Duke Ellington, Brubeck’s quartet gives it an energetic reading. Desmond in particular really stands out, as does the bass of Crotty.

The group’s selection of material was superb, and next up is the beautiful Hoagy Carmichael ballad “Stardust.” Sometimes Dave Brubeck’s piano sounds best when he hangs back a bit, as he does here. Once again, the crowd roars its approval at the end of his solo. Another huge response greets both Brubeck’s and Desmond’s leads in another great tune, “The Way You Look Tonight.”

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