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Time Further Out


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Audio CD, November 5, 1996
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Music

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Bennett/Brubeck: The White House Sessions, Live 1962

Biography

Dave Brubeck was one of the most active and popular musicians in both the jazz and classical worlds. With a career that spanned over six decades, his experiments in odd time signatures, improvised counterpoint, polyrhythm and polytonality remain hallmarks of innovation.

Born into a musical family in Concord, California-- his two older brothers were also professional musicians--he began ... Read more in Amazon's Dave Brubeck Store

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Product Details

  • Audio CD (November 5, 1996)
  • Number of Discs: 1
  • Label: Sony
  • ASIN: B000002AAL
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (43 customer reviews)
  • Amazon Best Sellers Rank: #198,496 in Music (See Top 100 in Music)

1. It's A Raggy Waltz
2. Bluette
3. Charles Matthew Hallelujah
4. Far More Blue
5. Far More Drums
6. Maori Blues
7. Unsquare Dance
8. Bru's Boogie Woogie
9. Blue Shadows In The Street
10. Slow And Easy (A.K.A. Lawless Mike)
11. It's A Raggy Waltz (Live At Carnegie Hall)

Editorial Reviews

Amazon.com

Time Further Out extends upon the concepts first enunciated on the Brubeck Quartet's surprise hit Time Out, but in this case with the organizing principles involving the leader's varied compositional treatments of the blues--traditional and otherwise. Thus a darkly ruminative tune such as "Bluette" treats a fairly standard 12-bar form in a very non-standard manner, interpolating a variety of classical devices that suggest the melodic influence of Chopin and the contrapuntal devices of Bach in its treatment, with a yearning alto solo from saxophonist Paul Desmond that suggests the emotional content of a blues, without specifically referring to standard devices. As if to italicize his band's mastery of polymeter, pianist Brubeck treats the fifth, sixth, seventh, eighth, and ninth tunes in corresponding meters, to particular effect on the 7/4 hoedown of "Unsquare Dance," the 8/8 barrelhouse changes of "Bru's Boogie Woogie" and the engaging dissonances of his 9/8 mood piece "Blue Shadows in the Street." And on "Far More Drums," drummer Joe Morello displays a mastery of 5/4 metric variations and African-styled polyrhythms that was unheard of for that time, save for percussive grandmasters such as Max Roach. --Chip Stern

Customer Reviews

Time Out nd Time Further Out are Brubecks best!!
stlrich
Like its predecessor, the instrumentations are flawless, and the music does reflect the artistry of a true jazz master.
JON STRICKLAND
I would highly recommend this to anyone who likes jazz.
gstewart617

Most Helpful Customer Reviews

78 of 79 people found the following review helpful By clikdawg on February 9, 2007
Format: Audio CD Verified Purchase
This is absolutely as good as the Brubeck Quartet -- and modern "intellectual" jazz -- gets; not to slight the Carnegie Hall Concert in any way, but this is one case where the form, clarity, and concision required in the studio trumps the live format every time.

Much looser and less self-conscious than "Time Out", "Time Further Out" finds the guys light years more comfortable with the odd time signatures they must certainly have realized (and accepted!) would become their main claim to fame, as well as with each other (Desmond was originally quite put out that Morello had demanded to be a "featured" drummer instead of a faceless time-keeper) -- and the results are obvious. This is only peripherally "intellectual" jazz; the Quartet is now expressing itself emotionally and spiritually through those odd time signatures ... it ain't just a gimmick no more, Sports Fans!

It flows, it rocks, it scales lofty peaks -- yeah, ol' ham-handed Dave is still pounding out those block chords; Paul is still smoother than silk or any other sax-man that ever lived; Gene is still running the voodoo down and Joe is still ... Joe: but the individuals have melded their sounds and their personalities, here, and the music is otherworldly, heaven-sent, and relentlessly listenable even to non-aficianados. Put it on for your girlfriend, sometime, don't make a big speech or anything, just let ot percolate through the room, and see where THAT gets you ... !

A word about Joe Morello. I'm a drummer myself, and many favorites have come and gone since I first heard him play "Take Five" on my daddy's hi-fi -- but he's the one drummer in the world I have never gotten over and never will.
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13 of 13 people found the following review helpful By A Customer on November 12, 1998
Format: Audio CD
This is one of his best. "Time Further Out" just shows how good he is and how his music can be soothing and swinging at the same time. David Brubreck does it all on this album. He has his piano skills mixed with the wonders of Paul Desmond, Joe Morello, and Eugene Wright. If you want a CD with swing and rythym, this masterpiece is the one for you!
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11 of 11 people found the following review helpful By Giordano Bruno on January 9, 2013
Format: Audio CD
... he seems closer than ever to "immortal" and this is my all-time favorite of his albums, both for its quality of performance and its quality of sound recording.

Some jazz musicians let their fingers do most of their musical thinking. That's not as random or risky as it sounds. A large part of the fundamentals of European music theory is built into the instruments of European music -- the scales, pitches, intervals, tonalities, etc. Jazz has clung rather conservatively to those instruments, making it basically a European art even when its affect is most Afro-American. On a sax or clarinet, what the fingers can do the fingers will do, and what the fingers can't do no amount of intellect will. It's a bit more 'complicated' on piano, of course. Brubeck was capable of loose finger improv, but it wasn't his forte. He didn't have the fast fingers of a Benny Green. So he needed more of ...

Musical Memory. Lots of jazz improv is the assembling of musical memories, the releasing of such memories from some subconscious reservoir in the hind cortex of the brain: licks and scraps of previous sessions, borrowings, mutations. Charlie Parker, dare I say, was the ultimate master of such music from memory; who could ever predict when a phrase of Wagner or Bartok would emerge from a chorus of "Now's the Time"? Brubeck's emergent allusions are more often in the opposite vein: bits of old-time funk, boogie-woogie, tongue in cheek. You'll hear plenty of these on this CD.

But Dave Brubeck was a self-conscious, self-monitoring musician, his fingers firmly controlled by a "super-ego" of classical theory.
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16 of 17 people found the following review helpful By Larry Schwartz on January 9, 2007
Format: Audio CD Verified Purchase
I was surfing and starting looking at good old jazz that I had grown up with. Dave Brubeck started me on my appreciation of jazz. It was like meeting an old friend. I love the album and it continues Dave's unique signature in jazz composition.
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7 of 7 people found the following review helpful By Shikantaza VINE VOICE on September 30, 2008
Format: Audio CD Verified Purchase
After "Time Out," Brubeck extends his innovation with unusual (yes, that's the word!) time signatures. This album is as essential as "Time Out," as it is impeccably performed by a group obviously comfortable with each other. As a bonus, it's very well recorded (early 60s) and remastered.

My personal fave is "Unsquare Dance" in 5-time, an anti-toe-tapping rebuttal to 4/4 comfort music. (Too bad the other version of "Unsquare Dance - in 7! - isn't on this disk as well.)
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6 of 6 people found the following review helpful By Caponsacchi HALL OF FAMETOP 500 REVIEWERVINE VOICE on February 12, 2013
Format: Audio CD Verified Purchase
Amazon has this one priced to sell, making it all but irresistible for a Prime customer, even as a 2nd copy to give to a Brubeck fan or a potential convert to this indigenous African-American art form. Dave became the first jazz musician pictured on the cover of "Time" magazine--even before his blockbuster "Time Out" album. (Only two other jazz musicians--Duke Ellington and Thelonious Monk--would succeed Brubeck as subjects of "Time" cover stories). All three shared in common a total commitment to their art, avoiding gimmickry and stunts to reach an audience but rather being true to their respective muses while allowing the public to "come to them."

Although the group's reputation was secured by the release in 1959 of "Time Out" with arguably the most popular jazz standard even today (Paul's "Take 5"), the series of studio albums that ensued were often tepid and sterile compared to the early recordings made before college audiences. In many respects "Time Further Out" is a more satisfying--even exciting and engaging--album than the immortal "Time Out." The musicians are looser, freer, more open to the possibility of "making mistakes" than was the case on the predecessor. Fans of Joe Morello (and there are justifiably many) will especially appreciate the small percussion "clinic" on "Far More Drums," and by the time the program gets to "Bru's Boogie Woogie" we begin to hear some of the unrestrained "bombast" that early on characterized Dave's playing (though he came to hate the word).

Shortly after the release of "Time Further Out" the Quartet came to my school, where I had the assignment of interviewing Dave for our college radio station (WVIK, Augustana, Rock Island, IL) in his dressing room at the end of the concert.
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