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(JazzPlanet) The Dave Brubeck Quartet - Time Out (Eac S Flac Cue) (UF)

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Description

The Dave Brubeck Quartet - Time Out (Eac Single Flac Cue)

















Artist: The Dave Brubeck Quartet

Title:  Time Out

Audio CD (March 25, 1997)

Original Release Date: 1959

Number of Disc: 1

Label 	Columbia Legacy CK 65122

Genre Jazz

Styles Post Bop, Hard Bop





Extractor: EAC 0.99 prebeta 4 

Read mode               : Secure

Utilize accurate stream : Yes

Defeat audio cache      : Yes

Make use of C2 pointers : No

Codec: Flac 1.2.1;  Level 8  

Single File.flac, Eac.log, 

File.cue (Noncompliant)

Accurately ripped (confidence 61 )

Source: Original CD 

Size Torrent: 250 Mb

Artwork Included









Personnel:



Dave Brubeck - Piano

Paul Desmond - Alto Saxophone

Gene Wright - Bass

Joe Morello – Drums





Tracklist:



   1. Blue Rondo A La Turk

   2. Strange Meadowlark

   3. Take Five

   4. Three To Get Ready

   5. Kathy`s Waltz

   6. Everybody`s Jumpin`

   7. Pick Up Sticks







Listen to Samples



http://www.amazon.com/gp/recsradio/radio/B000002AGN/ref=pd_krex_dp_a/191-6007018-2658157





Video/Audio



http://www.youtube.com/watch?v=BwNrmYRiX_o&feature=related



http://www.youtube.com/watch?v=kc34Uj8wlmE



http://www.youtube.com/watch?v=wsdWLTl3ya4&feature=related



http://www.youtube.com/watch?v=mgUtyBqTgCQ&feature=related



http://www.youtube.com/watch?v=Z1Nfijy6Yxs&feature=related



http://www.youtube.com/watch?v=KWWcSp_zuqc







bio





Dave Brubeck has long served as proof that creative jazz and popular success can go together. Although critics who had
championed him when he was unknown seemed to scorn him when the Dave Brubeck Quartet became a surprise success, in
reality Brubeck never watered down or altered his music in order to gain a wide audience. 

Creative booking (being one of the first groups to play regularly on college campuses) and a bit of luck resulted in
great popularity, and Dave Brubeck remains one of the few household names in jazz.



From nearly the start, Brubeck enjoyed utilizing poly-rhythms and poly-tonality (playing in two keys at once). He had
classical training from his mother, but fooled her for a long period by memorizing his lessons and not learning to read
music. 



He studied music at the College of the Pacific during 1938-1942. Brubeck led a service band in General Patton`s Army
during World War II and then, in 1946, he started studying at Mills College with the classical composer Darius Milhaud,
who encouraged his students to play jazz.



During 1946-1949, Brubeck led a group mostly consisting of fellow classmates, and they recorded as the Dave Brubeck
Octet; their music (released on Fantasy in 1951) still sounds advanced today, with complex time signatures and some
poly-tonality. 



The octet was too radical to get much work, so Brubeck formed a trio with drummer Cal Tjader (who doubled on vibes) and
bassist Ron Crotty. The trio`s Fantasy recordings of 1949-1951 were quite popular in the Bay Area, but the group came to
an end when Brubeck hurt his back during a serious swimming accident and was put out of action for months.



Upon his return in 1951, Brubeck was persuaded by altoist Paul Desmond to make the group a quartet. Within two years,
the band had become surprisingly popular. 



Desmond`s cool-toned alto and quick wit fit in well with Brubeck`s often heavy chording and experimental playing; both
Brubeck and Desmond had original sounds and styles that owed little to their predecessors. Joe Dodge was the band`s
early drummer but, after he tired of the road, the virtuosic Joe Morello took his place in 1956; while the revolving
bass chair finally settled on Eugene Wright in 1958. 



By then, Brubeck had followed his popular series of Fantasy recordings with some big sellers on Columbia, and had
appeared on the cover of Time (1954). 



The huge success of Paul Desmond`s "Take Five" (1960) was followed by many songs played in "odd" time signatures such as
7/4 and 9/8; the high-quality soloing of the musicians kept these experiments from sounding like gimmicks. 



Dave and Iola Brubeck (his wife and lyricist) put together an anti-racism show featuring Louis Armstrong (The Real
Ambassadors) which was recorded, but its only public appearance was at the Monterey Jazz Festival in the early `60s.



The Dave Brubeck Quartet constantly traveled around the world until its breakup in 1967. After some time off, during
which he wrote religious works, Brubeck came back the following year with a new quartet featuring Gerry Mulligan,
although he would have several reunions with Desmond before the altoist`s death in 1977. 



Brubeck joined with his sons Darius (keyboards), Chris (electric bass and bass trombone), and Danny (drums) in Two
Generations of Brubeck in the 1970s. In the early `80s, tenor saxophonist Jerry Bergonzi was in the Brubeck Quartet, and
beginning in the mid-`80s, clarinetist Bill Smith (who was in the original octet) alternated with altoist Bobby
Militello.

There is no shortage of Dave Brubeck records currently available, practically everything he cut for Fantasy, Columbia,
Concord, and Telarc are easy to locate. Brubeck, whose compositions "In Your Own Sweet Way," "The Duke," and "Blue Rondo
a la Turk" have become standards, remained very busy (despite some bouts of bad health) into the 2000s





review





If one reviews a fair amount of music software, it isn`t long before one begins to realize that no matter how good or
bad a disc may initially appear, if one takes the time to examine the music or performance, there are often interesting
facets of one or the other lurking just beneath the surface. `Time Out` is a case in point; I learned a great deal not
only after taking the time to critically listen to the music, but also from reading the accompanying booklet… and
the more I read and listened, the more enthralled I became with the album and the experimental processes used at the
time of recording.



But don`t assume that either my own journey or the recording experimentation of which I speak has anything to do with
this SACD per se, although it is true that in contemporary technology terms standards are fairly high. `Time Out` was
originally recorded in 1958 and 1959, long before any type of digital delivery system had even been thought of, let
alone invented. Yet, the music on this disc is no less revolutionary in its own special way. Dave Brubeck and the other
performing artists on this disc changed the face of “modern” jazz just as surely as Direct Stream Digital
and Meridian Lossless Packing are changing our expectations of high-resolution music playback.



The Dave Brubeck Quartet, in what was something totally new at the time, began using different musical rhythms along
with the traditional jazz techniques to forge something quite innovative. When it comes to track five, `Kathy`s Waltz`,
named in honor of Dave`s little daughter, the music begins to break new ground. Starting with a classic four-time beat,
the timing changes to that of a waltz, a transition that, coupled with all the instruments playing at differing rhythms
not only changes how the music is heard and understood, but also makes tapping your foot along to the beat almost
impossible.



At the time of its original release, the music of `Time Out` was considered unique, but its re-mastering onto SACD isn`t
anything out of the ordinary. As you`ll have already gathered, by that I don`t mean the music is bad or unworthy of the
format, just that while the transfer is commendable, given the age of the material little of SACD`s potential is taken
advantage of. That said, while it is true that the dynamic range may not be as expansive nor the fidelity as detailed as
one would expect had the disc been recorded today, the old material holds up remarkably well to close scrutiny.



The soundstage is fairly large and open, allowing you to place all the instruments without having to take a reality leap
of faith. Each performer makes his own contribution to the beat, which adds to the undercurrent of change as you listen,
developing the music and style. The piano and horn are not as airy or defined as they are from some of the format`s
finer recordings, but the talent and emotion of the musicians more than compensates for what the presentation lacks in
terms of definition. The bass and drums are well proportioned in relation to the horn and piano with not one single
instrument overpowering any other, thereby enabling the individual elements to merge in a sense of harmony and
synergy.



Even though the disc is lacking in fidelity terms, the instruments of track six, `Everybody`s Jumpin`, gel together to
create a listening experience that is not only heard, but felt in your body and soul. The sax leads the way – if
any instrument in this work really does the leading – and together the performers make you want to get up and
join the music. While at times seemingly subtle and unassuming, the music nevertheless draws you more and more into its
tangled web.



`Take Five` (track three) is also worth noting on several levels, especially as it is extremely involving and the use of
rhythm and tempo has made this particular piece one of the best known on the album.



Although not a hybrid title (the disc cannot be enjoyed in a standard Red-book CD player), the SACD of `Time Out` boasts
both stereo and multi-channel options, but just why Columbia bothered with the surround mix is unclear, unlike the
revolutionary music, it`s a backward and failed attempt to invigorate what is already a classic album. Right from track
one, `Blue Rondo A La Turk`, the multi-channel soundstage is compromised and unappealing, with the performance losing
all of its shine – especially when compared to the two-channel alternative. This may be in part caused by the
huge discrepancy in the volume between the two- and multi-channel mixes, but there are other equally obvious flaws.



Whoever re-mixed the album, clearly with the hope of making it a heart stopping rejuvenated version of the original,
fell far short. The idea of moving some of the instruments around into the rear channels, thereby increasing the size of
the soundstage and making it easier to pin-point each individual element is sometimes a good one, but in this instance
it`s a complete failure, an otherwise classic album is deconstructed to the point where it loses all of its vitality and
integration. Music in surround is a good thing, but quite clearly not always…



Aside from the horrible multi-channel mix and the somewhat limited fidelity that can be wholly attributed to the
original recording technology, this is an SACD to be respected and is quite deserving of being added to a well-rounded
collection. Yes, I have been critical of some facets of the package, but the stereo layer is definitely worth listening
to over, and over again, especially as I can almost guarantee that the more you listen the more you will enjoy it. Music
that forever changed the face of jazz… 

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The Dave Brubeck Quartet - Time Out (2002 Jazz) [Flac 24-88 SACD 4 1]	1 Year+ - in Music	1.67 GB	14	0
The Dave Brubeck Quartet - Time Out (1959) [FLAC]	1 Year+ - in Other	221.02 MB	1	0
The Dave Brubeck Quartet - Time Out (2013) [24-176 HD FLAC]	1 Year+ - in Music	1.66 GB	2	1
The Dave Brubeck Quartet - Time Out (1959) [SACD] (2000 Japan Remaster PCM Stere..	1 Year+ - in Other	726.68 MB	0	1
The Dave Brubeck Quartet - Time Out (1959) [SACD] (2000 Japan Remaster DST Stere..	1 Year+ - in Other	715.93 MB	0	0

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