DAVE BRUBECK QUARTET - Time Outtakes
Brubeck Editions
Dave Brubeck (piano); Paul Desmond alto saxophone); Gene Wright (bass); Joe Morello (drums)
Like Brubeck or not, there is no denying that ‘Time Out’ was an important album in 1959 but not as important as Ornette Coleman’s ‘The Shape of Jazz to Come’ or Miles Davis’ ‘Kind of Blue’ from the same year. The fact that ’Time Out’ was so popular has obscured how revolutionary it was. The complexity of the rhythms and the popularity of one of the pieces means that it has reached far beyond the confines of jazz. Now, to hear variations of pieces that are almost embedded in the mind is a dislocating experience. Philip Clark in his biography of Brubeck spends a number of pages devoted to the session that produced the experimental music and to the critical reaction to the classicism of some of the music. It was the start of Brubeck being misunderstood.
The album features 7 tracks that have never been heard before. These newly discovered recordings have performances that are every bit as interesting as the ones originally issued on ‘Time Out’ which was recorded over three days spread across the summer of 1959. The eight tracks on ‘Time Outtakes’ were all recorded on the first day, June 25, as the quartet was trying out the tunes. The album includes five alternate versions of pieces that made it onto ‘Time Out’ and two tracks that did not, ‘I’m in a Dancing Mood’ and ‘Watusi Jam’.
It is surprising to learn that ‘Take Five’ proved difficult to get right. Apparently the musicians tried nearly twenty times to get the piece perfected. It was left until another session in July when they sorted it in two takes. The version on this album is from June. The Morello drums are searching for the rhythm (and not really finding it). However, Desmond is as fluent as ever.
After years of being dismissed Brubeck is being reassessed. Blue Rondo might speed the assessment. ‘Blue Rondo A La Turk,’ is much longer in this version which contains a long solo from Brubeck. The original was 6:44, the new one is 8:52, allowing Brubeck to play more than ten varied choruses completely different from his solo on the original album. It emphasises the pianist’s dedication to improvisation.
It is time that Joe Morello was reassessed. ‘Watsui Jam’ is an original here. It is an improvisation between Brubeck, Gene Wright and Morello. ‘Watusi Drums’ was recorded a few years earlier on ‘The Dave Brubeck Quartet in Europe’. There is a playful mood here but the lightness does not conceal the real artistry of Morello as he displays his art, fluidity and his mastery of exotic rhythms. Throughout his career he seemed to prefer the smaller groups but the great percussionist could also power a big band as he demonstrated when he depped for Stan Levey with Stan Kenton.
‘I’m In a Dancing Mood’ is the only non-original tune recorded during the 1959 ‘Time Out’ session. It was not part of the album that was eventually released. It plays with time signatures. Both Brubeck and Desmond have solos that are typical.
The delightful tune of ‘Three to Get Ready’ differs little from the eventually released track. Brubeck is a little more abstract and feels at times that he is grappling with the rhythm. According to Philip Clark the piece was played easily without much angst. Improvising over 3/4 and 4/4 was natural to the group. Morello was told to increase the volume on the cymbal strikes at the end of each phrase. During ‘Kathy’s Waltz’ Brubeck ordered Morello and Wright to hold the waltz rhythm no matter what he did.
These outtakes emphasise clearly what made this creative quartet successful: Desmond with his melodic ease, Brubeck with his constant rugged improvisations, Morello with his varied approach to percussion and Gene Wright underpinning it all with rhythmic grace.
Reviewed by Jack Kenny
Brubeck Editions
Dave Brubeck (piano); Paul Desmond alto saxophone); Gene Wright (bass); Joe Morello (drums)
Like Brubeck or not, there is no denying that ‘Time Out’ was an important album in 1959 but not as important as Ornette Coleman’s ‘The Shape of Jazz to Come’ or Miles Davis’ ‘Kind of Blue’ from the same year. The fact that ’Time Out’ was so popular has obscured how revolutionary it was. The complexity of the rhythms and the popularity of one of the pieces means that it has reached far beyond the confines of jazz. Now, to hear variations of pieces that are almost embedded in the mind is a dislocating experience. Philip Clark in his biography of Brubeck spends a number of pages devoted to the session that produced the experimental music and to the critical reaction to the classicism of some of the music. It was the start of Brubeck being misunderstood.
The album features 7 tracks that have never been heard before. These newly discovered recordings have performances that are every bit as interesting as the ones originally issued on ‘Time Out’ which was recorded over three days spread across the summer of 1959. The eight tracks on ‘Time Outtakes’ were all recorded on the first day, June 25, as the quartet was trying out the tunes. The album includes five alternate versions of pieces that made it onto ‘Time Out’ and two tracks that did not, ‘I’m in a Dancing Mood’ and ‘Watusi Jam’.
It is surprising to learn that ‘Take Five’ proved difficult to get right. Apparently the musicians tried nearly twenty times to get the piece perfected. It was left until another session in July when they sorted it in two takes. The version on this album is from June. The Morello drums are searching for the rhythm (and not really finding it). However, Desmond is as fluent as ever.
After years of being dismissed Brubeck is being reassessed. Blue Rondo might speed the assessment. ‘Blue Rondo A La Turk,’ is much longer in this version which contains a long solo from Brubeck. The original was 6:44, the new one is 8:52, allowing Brubeck to play more than ten varied choruses completely different from his solo on the original album. It emphasises the pianist’s dedication to improvisation.
It is time that Joe Morello was reassessed. ‘Watsui Jam’ is an original here. It is an improvisation between Brubeck, Gene Wright and Morello. ‘Watusi Drums’ was recorded a few years earlier on ‘The Dave Brubeck Quartet in Europe’. There is a playful mood here but the lightness does not conceal the real artistry of Morello as he displays his art, fluidity and his mastery of exotic rhythms. Throughout his career he seemed to prefer the smaller groups but the great percussionist could also power a big band as he demonstrated when he depped for Stan Levey with Stan Kenton.
‘I’m In a Dancing Mood’ is the only non-original tune recorded during the 1959 ‘Time Out’ session. It was not part of the album that was eventually released. It plays with time signatures. Both Brubeck and Desmond have solos that are typical.
The delightful tune of ‘Three to Get Ready’ differs little from the eventually released track. Brubeck is a little more abstract and feels at times that he is grappling with the rhythm. According to Philip Clark the piece was played easily without much angst. Improvising over 3/4 and 4/4 was natural to the group. Morello was told to increase the volume on the cymbal strikes at the end of each phrase. During ‘Kathy’s Waltz’ Brubeck ordered Morello and Wright to hold the waltz rhythm no matter what he did.
These outtakes emphasise clearly what made this creative quartet successful: Desmond with his melodic ease, Brubeck with his constant rugged improvisations, Morello with his varied approach to percussion and Gene Wright underpinning it all with rhythmic grace.
Reviewed by Jack Kenny
