Dave Brubeck Quartet - Time Out

Dave Brubeck's innovative exploration of compound time and unconventional rhythms is showcased fully on his landmark album Time Out. While earlier musicians had dabbled with waltz time, Brubeck ventured further, incorporating exotic time signatures and layering rhythms in counterpoint. The album blends three musical traditions: the spontaneity of jazz improvisation, the structured formality of classical Western music, and the intricate rhythms of African folk music.

The album was recorded in 1959 at Columbia's 30th Street Studio in New York City, featuring the classic Brubeck Quartet lineup of Paul Desmond (alto saxophone), Eugene Wright (bass), and Joe Morello (drums). The quartet had previously undertaken a State Department-sponsored tour of Europe and the Middle East in 1958, and inspired by the different musical styles they encountered, Brubeck began composing with these influences in mind. During the same period, the studio also hosted sessions for other iconic albums like Miles Davis's Kind of Blue and Charles Mingus's Mingus Ah Um.

“Blue Rondo à la Turk” opens the album with an innovative blend of jazz and classical elements. Inspired by Turkish folk music, the piece is written in a complex 9/8 time signature, grouped as 2+2+2+3. This structure creates a lively, intricate melody that transitions into a more familiar jazz swing. Paul Desmond's alto saxophone leads with a smooth monologue, followed by Brubeck's dynamic piano solo. The composition employs a rondo form, specifically an ABAC structure, allowing for a seamless fusion of diverse musical influences and showcasing Brubeck's mastery of integrating different rhythmic and melodic styles.

The album’s most famous track is “Take Five,” a 5/4 composition credited to Paul Desmond but likely a collaboration among the quartet’s members. Led by the catchy saxophone melody that soars over the piano interjections and swinging drums, it became synonymous with the Cool Jazz genre. The accessibility of the tune was a key element in the album’s success, appealing to a wider audience unfamiliar with contemporary jazz. Other tracks include the longing and melancholic “Strange Meadow Lark,” featuring a beautiful “Gershwin meets Debussy” piano intro from Brubeck, and the playful band interplay across “Three to Get Ready.”

Brubeck and Desmond had uniquely contrasting musical styles, built on nearly ten years of working together. Brubeck’s approach centered on a polyrhythmic and compositional style, while Desmond opted for a smoother, lyrically minded approach. This combination made the music accessible even when exploring odd time signatures. Desmond soloed with such fluidity that even the most challenging compositions from the pianist were brought to life by the smooth, buttery tone of Desmond’s alto saxophone. As Desmond himself once quipped, he wanted his sax to sound like “a dry martini.” The contributions made by the rhythm section of Joe Morello and Eugene Wright should not be underestimated, however: both made sense of the often awkward time signatures, making them swing. 

Upon its release, the album received a number of negative reviews from many jazz critics, most famously from Downbeat Magazine, which rated it two stars. However, the album soon rocketed up the charts, and the title tune became the best-selling jazz single of all time. By blending artistic innovation with commercial success, Time Out transformed perceptions of jazz, challenging assumptions about its complexity and accessibility. This groundbreaking album opened the door for further experimentation in the genre while broadening its audience, demonstrating that intricate rhythms and unconventional time signatures could resonate widely with listeners.