Pub Date : 2019-11-28DOI: 10.1093/oso/9780190217716.003.0006
S. A. Crist
The story of Time Out involves the surprising juxtaposition of seemingly disparate elements and an artistic vision that encompasses musical cultures from around the world. The present chapter unfolds three case studies that illustrate Dave Brubeck’s liberal attitude toward many different kinds of music and his desire to invite their influence into his work as a composer and an improviser. It also demonstrates Brubeck’s skill in bringing together aspects of classical and world music with jazz, to produce a coherent artistic statement. First, the three strands of “Blue Rondo à la Turk” (world music, classical, blues) are examined individually. The chapter then proceeds to discussion of the origins of “Watusi Drums” in a field recording of African drumming, and its transformation into “Pick Up Sticks.” The last vignette considers Brubeck’s quotation from Shostakovich’s Fifth Symphony in a version of “Take Five” that was recorded live in Moscow in 1987.
《Time Out》的故事包含了看似不相干的元素和包含世界各地音乐文化的艺术视野的惊人并置。本章展开了三个案例研究，说明了戴夫·布鲁贝克对许多不同类型的音乐的自由态度，以及他作为作曲家和即兴演奏家邀请他们的影响到他的工作的愿望。它还展示了布鲁贝克将古典音乐和世界音乐与爵士乐结合在一起的技巧，以产生连贯的艺术陈述。首先，“Blue Rondo la Turk”(世界音乐，古典音乐，蓝调音乐)的三个部分被单独研究。本章接着讨论了“Watusi Drums”在非洲击鼓现场录音中的起源，以及它转变为“Pick Up Sticks”的过程。最后一个小插曲引用了布鲁贝克1987年在莫斯科现场录制的肖斯塔科维奇第五交响曲中的“Take Five”版本。
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Pub Date : 2019-11-28DOI: 10.1093/oso/9780190217716.003.0005
S. A. Crist
Among Dave Brubeck’s personal audio recordings are about two dozen takes of “Take Five,” which preceded the full-length version on Time Out and the shorter single release version. This chapter discusses first the familiar versions from July 1959, and then considers how the Quartet’s efforts at the end of June paved the way for those iconic recordings. A surprising discovery from the original session recordings of “Kathy’s Waltz” and “Strange Meadow Lark” is that both cuts were spliced from supplemental takes. The recording history of “Everybody’s Jumpin’ ” includes the unexpected fact that a portion of the tune originated in 1950, nine years before the Time Out sessions. The chapter also examines the original recordings of “Three to Get Ready” and “Blue Rondo à la Turk,” as well as two tracks that shed light on the origins of “Pick Up Sticks.”
在戴夫·布鲁贝克(Dave Brubeck)的个人录音中，大约有二十多首《Take Five》的录音片段，在《Time Out》的全长版本和较短的单曲发行版本之前。本章首先讨论1959年7月的熟悉版本，然后考虑四重奏在6月底的努力是如何为那些标志性的录音铺平道路的。从《凯西的华尔兹》和《奇怪的草地百灵鸟》的原始录音中，一个令人惊讶的发现是，这两个剪辑都是从补充录音中拼接而来的。《Everybody’s Jumpin》的录音历史包括了一个意想不到的事实，那就是这首歌的一部分起源于1950年，比《Time Out》的录制时间早了九年。本章还研究了“Three to Get Ready”和“Blue Rondo la Turk”的原始录音，以及两首阐明“Pick Up Sticks”起源的曲目。
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Pub Date : 2019-11-28DOI: 10.1093/oso/9780190217716.003.0001
S. A. Crist
This chapter sketches some of the most important factors that led to the formation of the Dave Brubeck Quartet and its rise to fame in the 1950s. Brubeck’s interest in polyrhythms is traced back to his formative years in the 1930s and 1940s, including his work with two predecessors of the Quartet, the Dave Brubeck Octet and the Dave Brubeck Trio. After its formation in 1951, the Dave Brubeck Quartet achieved popular acclaim and signed a multiyear contract with Columbia Records in 1954. Shortly thereafter, Brubeck appeared on the cover of Time magazine. Around the same time, he recorded his first studio album for Columbia, Brubeck Time, whose title was purely a promotional tactic. The experimental meter signatures of Time Out were still five years in the future.
{"title":"Time and Brubeck Time","authors":"S. A. Crist","doi":"10.1093/oso/9780190217716.003.0001","DOIUrl":"https://doi.org/10.1093/oso/9780190217716.003.0001","url":null,"abstract":"This chapter sketches some of the most important factors that led to the formation of the Dave Brubeck Quartet and its rise to fame in the 1950s. Brubeck’s interest in polyrhythms is traced back to his formative years in the 1930s and 1940s, including his work with two predecessors of the Quartet, the Dave Brubeck Octet and the Dave Brubeck Trio. After its formation in 1951, the Dave Brubeck Quartet achieved popular acclaim and signed a multiyear contract with Columbia Records in 1954. Shortly thereafter, Brubeck appeared on the cover of Time magazine. Around the same time, he recorded his first studio album for Columbia, Brubeck Time, whose title was purely a promotional tactic. The experimental meter signatures of Time Out were still five years in the future.","PeriodicalId":115971,"journal":{"name":"Dave Brubeck's Time Out","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126310050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-28DOI: 10.1093/oso/9780190217716.003.0004
S. A. Crist
This chapter provides thumbnail sketches of each composition on Time Out, informed by manuscript sources. It also includes consideration of the disposition of solos, as well as discussion of the individual quartet members’ approaches to improvisation. In addition to its formal design and rhythmic profile, the architectural features of “Blue Rondo à la Turk” include its motivic content, palette of chord types, and tonal blueprint. “Everybody’s Jumpin’ ” also is an elegantly constructed composition. “Three to Get Ready” and “Kathy’s Waltz” belong together by virtue of their position side by side and because they both involve metrical experimentation with groups of three and four beats. “Strange Meadow Lark” is the longest and most accessible cut, but it is the only number on Time Out that is not a time experiment. Its four pages of pencil sketches provide a glimpse into Brubeck’s creative process. “Take Five” and “Pick Up Sticks” are examined as well.
本章提供了Time Out上每一篇作文的缩略草图，并提供了手稿来源的信息。它还包括考虑独奏的处理，以及讨论个人四重奏成员的即兴创作方法。除了其正式的设计和节奏轮廓外，“Blue Rondo la Turk”的建筑特征还包括其动机内容，和弦类型的调色板和音调蓝图。《Everybody’s jump》也是一首结构优美的作品。“三个准备好”和“凯西的华尔兹”由于它们并排的位置而属于一起，因为它们都涉及三拍和四拍组的韵律实验。《奇怪的草地云雀》是最长、最容易理解的剪辑，但它是《Time Out》中唯一一首不是时间实验的歌曲。书中四页纸的铅笔草图让我们得以一窥布鲁贝克的创作过程。“Take Five”和“Pick Up Sticks”也被检查。
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Pub Date : 2019-10-24DOI: 10.1093/oso/9780190217716.003.0009
S. A. Crist
A fundamental characteristic of Dave Brubeck’s Time Out album is that it eschews common meter, which had long formed the temporal basis for jazz. This chapter takes stock of this central aspect of Time Out. A judicious appraisal of Brubeck’s work with unusual meters and rhythms must be informed by several considerations. First, by 1959 Brubeck had been interested in metrical experimentation for more than two decades. Second, Brubeck’s fascination with the temporal aspects of jazz continued in four additional albums during the 1960s. Finally, Brubeck’s enduring legacy rests on his unique ability to pursue this progressive musical agenda while simultaneously achieving broad popular appeal.
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Pub Date : 2019-10-24DOI: 10.1093/oso/9780190217716.003.0010
S. A. Crist
This chapter first picks up and develops three strands in Dave Brubeck’s biography, which were introduced in the opening chapters of the book: the Quartet’s work with Leonard Bernstein and the New York Philharmonic, Brubeck’s involvement in issues of civil rights, and Dave and Iola Brubeck’s efforts to bring The Real Ambassadors to fruition. The balance of the chapter considers the early critical reception of Time Out, sketches the outlines of its four sequels (Time Further Out, Countdown: Time in Outer Space, Time Changes, and Time In), and examines the circumstances surrounding the dissolution of the Dave Brubeck Quartet in 1967.
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Pub Date : 2019-10-24DOI: 10.1093/oso/9780190217716.003.0003
Stephen A. Crist
1959 was a watershed for the Dave Brubeck Quartet. Not only was it the year of Brubeck’s most famous creative project, Time Out, but it also marked the midpoint of the “classic” Quartet with Paul Desmond, which was formed in 1951 and disbanded in 1967. This chapter discloses the specific factors involved in the production of Time Out. These include early concert performances of the repertoire, the recording sessions, and decisions concerning the album’s title, cover art, and liner notes. The other trajectory followed here concerns several important matters that were uppermost in Brubeck’s life and career at that time. Chief among them were an enormous amount of domestic and international travel, a high-profile stand against racism and segregation in the South, an all-out effort to finish his musical and see it produced on Broadway, and a series of performances with the New York Philharmonic in Carnegie Hall.
{"title":"Watershed","authors":"Stephen A. Crist","doi":"10.1093/oso/9780190217716.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190217716.003.0003","url":null,"abstract":"1959 was a watershed for the Dave Brubeck Quartet. Not only was it the year of Brubeck’s most famous creative project, Time Out, but it also marked the midpoint of the “classic” Quartet with Paul Desmond, which was formed in 1951 and disbanded in 1967. This chapter discloses the specific factors involved in the production of Time Out. These include early concert performances of the repertoire, the recording sessions, and decisions concerning the album’s title, cover art, and liner notes. The other trajectory followed here concerns several important matters that were uppermost in Brubeck’s life and career at that time. Chief among them were an enormous amount of domestic and international travel, a high-profile stand against racism and segregation in the South, an all-out effort to finish his musical and see it produced on Broadway, and a series of performances with the New York Philharmonic in Carnegie Hall.","PeriodicalId":115971,"journal":{"name":"Dave Brubeck's Time Out","volume":"384 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120868221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-24DOI: 10.1093/oso/9780190217716.003.0007
S. A. Crist
Although Time Out is a purely instrumental album, several of its cuts either originated as songs or later were supplied with words. Two singers—Claude Nougaro in the 1960s and Al Jarreau in the 1970s and 1980s—rose to fame largely on the basis of their vocal renditions of tunes from Time Out. This chapter examines the interplay between music and lyrics in the origins and history of these numbers. It begins with examination of the interdependence of “Everybody’s Jumpin’ ” and “Everybody’s Comin’ ” (the latter a song from The Real Ambassadors). The vocal versions of “Strange Meadow Lark” and “Take Five,” with lyrics by Dave and Iola Brubeck, and their recordings by Carmen McRae, are considered next. The chapter concludes with discussion of Nougaro’s “À bout de souffle” and “Le jazz et la java,” and Jarreau’s “(Round, Round, Round) Blue Rondo à la Turk” and “Take Five.”
虽然《Time Out》是一张纯粹的器乐专辑，但它的一些剪辑要么源于歌曲，要么后来加入了歌词。20世纪60年代的克劳德·努加罗(claude Nougaro)和70、80年代的阿尔·贾罗(Al jarau)这两位歌手的成名很大程度上是基于他们对《Time Out》曲调的演唱。本章探讨了这些数字的起源和历史中音乐和歌词之间的相互作用。它首先考察了“Everybody’s Jumpin”和“Everybody’s Comin”(后者是the Real Ambassadors中的一首歌)之间的相互依存关系。《奇怪的草地云雀》(Strange Meadow Lark)和《Take Five》的人声版本，由戴夫和伊奥拉·布鲁贝克(Iola Brubeck)作词，卡门·麦克雷(Carmen McRae)录制。本章最后讨论了努加罗的“À bout de souffle”和“Le jazz et la java”，以及雅罗的“(Round, Round, Round) Blue Rondo la Turk”和“Take Five”。
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Pub Date : 2019-10-24DOI: 10.1093/oso/9780190217716.003.0008
S. A. Crist
Once the seven cuts of Time Out had been committed to vinyl, there began a long period in which the Quartet revisited and reinterpreted this repertoire. The “classic” Quartet and its successors recorded many new versions of most of the tunes on Time Out. This chapter first examines a few of Brubeck’s most significant recordings of “Blue Rondo à la Turk,” “Strange Meadow Lark,” “Take Five,” “Three to Get Ready,” and “Kathy’s Waltz” in the thirty-five years after they originally appeared. The latter part of the chapter considers several cover versions of these tunes, which entail radical transformation of Brubeck’s original ideas. These include Anthony Braxton’s rendition of “Three to Get Ready” and Emerson, Lake & Palmer’s “Rondo.”
《Time Out》的七段剪辑被制作成黑胶唱片后，四重奏开始了很长一段时间，重新审视和诠释了这些曲目。“经典”四重奏及其后继者录制了《Time Out》中大多数曲调的许多新版本。本章首先考察了布鲁贝克最重要的几张唱片，包括《蓝色回旋曲》、《奇怪的草地云雀》、《五分钟》、《三分钟准备》和《凯西的华尔兹》，这些唱片在最初出现的35年后。本章的后半部分考虑了这些曲调的几个翻唱版本，这需要布鲁贝克的原始思想的根本转变。其中包括安东尼·布拉克斯顿(Anthony Braxton)演唱的《Three to Get Ready》和爱默生、莱克和帕尔默(Emerson, Lake & Palmer)的《回旋曲》(Rondo)。
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Pub Date : 2019-10-24DOI: 10.1093/oso/9780190217716.003.0002
S. A. Crist
This chapter concerns the internationalization of the Dave Brubeck Quartet. After several years of preliminary discussions, in 1958 the group finally traveled abroad for the first time, on a three-month trip, largely under the auspices of the US State Department. By this time, the Quartet’s personnel finally reached a steady state, after a series of different bass players and drummers. The “classic” Quartet was the group of musicians who recorded Time Out the next year. Around the same time, Brubeck became increasingly involved with issues of civil rights. The Quartet also made history in the late 1950s by performing jazz in concert halls and on college campuses. Finally, Dave and Iola Brubeck devoted themselves tirelessly to the creation and promotion of The Real Ambassadors, a musical that they hoped would be produced on Broadway.
{"title":"Onto the World Stage","authors":"S. A. Crist","doi":"10.1093/oso/9780190217716.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780190217716.003.0002","url":null,"abstract":"This chapter concerns the internationalization of the Dave Brubeck Quartet. After several years of preliminary discussions, in 1958 the group finally traveled abroad for the first time, on a three-month trip, largely under the auspices of the US State Department. By this time, the Quartet’s personnel finally reached a steady state, after a series of different bass players and drummers. The “classic” Quartet was the group of musicians who recorded Time Out the next year. Around the same time, Brubeck became increasingly involved with issues of civil rights. The Quartet also made history in the late 1950s by performing jazz in concert halls and on college campuses. Finally, Dave and Iola Brubeck devoted themselves tirelessly to the creation and promotion of The Real Ambassadors, a musical that they hoped would be produced on Broadway.","PeriodicalId":115971,"journal":{"name":"Dave Brubeck's Time Out","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132283298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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