The Vinyl of the Day is ‘Time Out’ by the Dave Brubeck Quartet, 1959. A daring experiment by Brubeck that broke many rules of contemporary jazz, at the time it was received with many negative reviews by critics, but of course went on to be one of the best-known, best-selling, and highest regarded jazz recordings of all time. The album was intended as an experiment using musical styles Brubeck discovered abroad while on a US Department of State sponsored tour of Eurasia, such as when he observed in Turkey a group of street musicians performing a traditional Turkish folk song that was played in 9/8 time with subdivisions of 2+2+2+3, a rare meter for Western music.
From Wikipedia;
Although the theme of Time Out is non-common-time signatures, things are not quite so simple. “Blue Rondo à la Turk” starts in 9/8, with a typically Balkan 2+2+2+3 subdivision into short and long beats (the rhythm of the Turkish zeybek, equivalent of the Greek zeibekiko) as opposed to the more Western 3+3+3 pattern, but the saxophone and piano solos are in 4/4. The title is a play on Mozart’s “Rondo alla Turca” from his Piano Sonata No. 11, and reflects the fact that the band heard the rhythm while traveling in Turkey.
“Strange Meadow Lark” begins with a piano solo that exhibits no clear time signature, but then settles into a fairly ordinary 4/4 swing once the rest of the group joins. “Take Five” is in 5/4 throughout. According to Desmond, “It was never supposed to be a hit. It was supposed to be a Joe Morello drum solo."Three to Get Ready” begins in waltz-time, after which it begins to alternate between two measures of ¾ and two of 4/4. “Kathy’s Waltz”, named after Brubeck’s daughter Cathy but misspelled, 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.
‘Time Out’ is one of jazz’s most accessible works, and is also a testament to the strength of not just Jazz but of all instrumental music. The energetic piano that is displayed at the intro of the album’s opening number “Blue Rondo a la Turk” is as well played and well composed as it gets, with it having the additional quality of being a catchy, ear worm of a part. The rest of the composition has each member improvising in between the album’s main piano refrain. “Strange Meadow Lark” continues the record’s strength while being more subtle - Dave Brubeck again delivers some fantastic piano playing, with the intro of the song being a showcase of his undeniable talent with the instrument. Paul Desmond’s alto sax takes over a good portion of this song, and he does not disappoint. His tasteful playing along with the laid-back drums and bass really create a cool mood after the song’s initial piano centric intro, which also closes the song beautifully. The track that is the album’s most immortalized is of course “Take Five” (the only piece on the album not written by Brubeck, but by Paul Desmond). "Take Five” just has that groove and feel that is very hard not to move and get into. It’s ‘Time Out’s most moody piece of music and the album’s most distinct as a result, and magically makes a connection with almost anyone who hears it regardless of age or background. It’s one of those amazing pieces that uses music to transcend and touch all listeners.
Overall, Time Out is an album that all fans of music should listen to and hopefully enjoy. It is possibly the best album to introduce oneself to jazz, with its very accessible style making it almost impossible not to be enthralled by. Mix yourself a Manhattan, turn the lights down low, and look at the city lights through your window as you listen.
PS — The cover artwork by Neil Fujita became a classic and influential example of abstract modernism.
AllMusic Review by Steve Huey
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 ¾ 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 Outas its 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.