The Dave Brubeck Quartet - Time Out - 1959/2000 (Cool jazz) torrent

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The Dave Brubeck Quartet / Time Out (2000 Japanese Remaster)

Жанр: Cool jazz
Страна-производитель диска: Japan
Запись альбома: June 25, 1959 (4-6) July 1, 1959 (2,3) August 18, 1959 (1,7) Columbia 30th Street Studio, New York
Год издания диска: 2000
Издатель (лейбл): SME Records
Номер по каталогу: SRGS 4535
Страна: USA
Тип рипа: PS3, image (ISO)
Кодек: DSD 2.0
Битрейт аудио: 1 bit/2,8224 MHz
Продолжительность: 38:34
Источник (релизер): pssacd
Наличие сканов в содержимом раздачи: да

Треклист:
1. Blue Rondo A La Turk 06:46
2. Strange Meadow Lark 07:24
3. Take Five 05:27
4. Three To Get Ready 05:26
5. Kathy’s Waltz 04:51
6. Everybody’s Jumpin’ 04:25
7. Pick Up Sticks 04:17
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Time Out is a jazz album by The Dave Brubeck Quartet, released in 1959 on Columbia Records, catalogue CL 1397.
Recorded at Columbia’s 30th Street Studio in New York City, it is based upon the use of time signatures that were unusual for jazz such as 9/8 and 5/4. The album is a subtle blend of cool and West Coast jazz. It peaked at #2 on the Billboard pop albums chart, and has been certified platinum by the RIAA.

All Music Review

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 3/4 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 Out as it’s 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.
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