“We found a different take where Paul comes in and plays his solo and we used that and so it was two takes married together. “I heard references to my dad saying ‘Oh, man, I wish we could have used that take where I played such a beautiful intro’,” he explains. Chris Brubeck says his dad played a beautiful intro, but then Desmond got lost and they had to stop the tape. The alternate take of “Strange Meadowlark” is edited together from a couple different attempts to get an acceptable version on tape. He was definitely thinking about that rather than Charlie Parker when he played his solo.” “And Paul is playing in a very strange tonal way, which I think he was thinking some of the crazy Middle Eastern horns he probably heard. “Instead of the blues having nothing to do with the previous melody, it actually ties in beautifully architecturally,” he explains. Both Desmond and Brubeck play impeccable solos on the familiar album version, but Chris Brubeck says he prefers his dad’s solo on the earlier, longer, alternate take because it’s more closely integrated with the composed theme. The composition features the opening and closing 9/8 theme bookending a long, blues section in 4/4. The opening track on the original Time Out, “Blue Rondo a la Turk,” is a composition in 9/8 inspired by Turkish street musicians Brubeck heard during the quartet’s 1958 State Department tour. The Brubeck family decided to release this collection of previously unheard alternate performances, cleverly titled Time Outtakes, to mark the centennial of Dave Brubeck’s birth on December 6, 1920. Mainly these are better than what went on Time Out for various reasons.” “These were not just takes that weren’t used because they weren’t any good,” Chris Brubeck says. During a break in an English tour by Brubecks Play Brubeck, a band featuring three of Brubeck’s sons (Darius, piano Chris, bass and trombone Dan, drums), the younger Brubecks listened to hours of music that never made it on the Time Out LP and were amazed. The takes were discovered a few years ago by a pair of authors who were researching archives for two books about Brubeck, Dave Brubeck: A Life in Time by Philip Clark and Dave Brubeck’s Time Out by Stephen A. But alternate takes from Brubeck’s Time Out have never been released before now because of one simple reason: no one knew they existed. The group really gelled when drummer Joe Morello and bassist Eugene Wright joined in the late 1950s.įor decades, re-releases of classic jazz albums have often included alternate takes and previously unheard session tracks. His most famous and popular band was the classic quartet centered around the pianist’s remarkable musical partnership with alto saxophonist Paul Desmond. Over the course of a career that ran from his service in World War II until his death at the age of 92 in 2012, Dave Brubeck established himself as one of jazz’s great composers, pianists and bandleaders.
It’s been a steady seller through the years and has since gone double platinum. Recorded over four sessions in the summer of 1959, the album explored unusual time signatures and produced the unlikely hit “Take Five.” According to Billboard magazine, Time Out was the first jazz album to sell a million copies.
It’s an adventurous, experimental, instrumental jazz album that was also a popular success. The Dave Brubeck Quartet’s Time Out is a rarity.
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