Sit back, put your feet up and enjoy a full listening session of this essential jazz album, without the need to get up and flip the record!
This video took a great deal of time to create. So if you enjoy this, please show it by commenting, adding to favorites, thumbing up, sharing on Facebook, and subscribing to my channel! Thanks, Evan.
The clickable times listed below allow you direct access to each track.
00:33 "Blue Rondo à la Turk" A1-- 6m 44s
07:23 "Strange Meadow Lark" A2-- 7m 22s
14:49 "Take Five" A3-- 5m 24s
20:16 "Three to Get Ready" B1-- 5m 24s
25:46 "Kathy's Waltz" B2-- 4m 48s
30:39 "Everybody's Jumpin'" B3-- 4m 23s
35:07 "Pick Up Sticks" B4-- 4m 16s
From Discogs.com & Wikipedia.com:
Catalog#: CS 8192
Format: Vinyl, LP, 6-Eye Columbia Label
Style: Cool Jazz, Bop, Hard Bop
Barcode and Other Identifiers: Matrix Number (A): XSM-47855-2BD Matrix Number (B): XSM-47856-2CE
6-Eye Columbia Label, 2nd issue.
Time Out is a 1959 album (originally issued as CS 8192) by The Dave Brubeck Quartet, based upon the use of time signatures that were unusual for jazz (mainly waltz or double-waltz time, but also 9/8, and most famously 5/4). The style is a subtle blend of cool and West Coast jazz. Although the album was intended as an experiment Columbia president Goddard Lieberson was willing to chance releasing it) and received negative reviews by critics upon its release, it became one of the best-known and biggest-selling jazz albums, reaching number two in the U.S. Billboard "Pop Albums" chart, and produced one single—Paul Desmond's "Take Five"—that reached number five in the Billboard Adult Contemporary chart. In 2005, it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry. It was also listed on the book 1001 Albums You Must Hear Before You Die. The cover art for the album was designed by Neil Fujita.
The album is a blend of cool and West Coast jazz. Although the theme (and the title) 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. (Despite its title, "Blue Rondo à la Turk" is not a play on Mozart's "Rondo alla Turca" from his Piano Sonata No. 11, but rather is based on a Turkish rhythm that Brubeck heard.) "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" ("supposed to be a Joe Morello drum solo", according to Desmond) is in 5/4 throughout. "Three to Get Ready" begins in waltz-time, after which it begins to alternate between two measures of 3/4 (the waltz-time), and two of 4/4. "Kathy's Waltz" (misspelled, but named after Brubeck's daughter, Cathy) 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.
It has been speculated that "Kathy's Waltz" inspired the song "All My Loving", written by Paul McCartney and performed by The Beatles, as they share similar rhythmic endings to the last phrases of their melodies. Tracks 1 and 7 recorded on August 18; tracks 2 and 3 on on July 1; tracks 4, 5 and 6 recorded on June 25, 1959.
Dave Brubeck -- piano
Paul Desmond -- alto saxophone
Eugene Wright -- double bass
Joe Morello -- drums
Technical and design:
S. Neil Fujita -- cover artwork
Teo Macero -- producer
Fred Plaut -- engineer
Seth Rothstein -- project director
Cozbi Sanchez-Cabrera -- art direction
Vinyl record was washed in a 'Spin Clean Record Washer System' and treated with 'Gruv Glide'. Recorded from an Audio Technica AT-LP120usb turntable/Audio Technica AT-440Mla cartridge, into the phono input of a Harman/Kardon 330c receiver, and finally into an Onkyo Wavio SE-U33GXV USB Digital Audio processor. Recorded from my laptop using Audacity @ 24bit/96,000 Hz.
Audio was passed through iZotope RX2, to clean the sound up. Original audio is retained in the dead space between songs.
Youtube knocks the audio down from the above, to 128kbps.