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Their Last Time Out [CD]

Dave Brubeck Audio CD
4.2 out of 5 stars  See all reviews (4 customer reviews)
Price: 9.80 & FREE Delivery in the UK on orders over 10. Details
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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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Their Last Time Out + Time Changes + Time Further Out
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  • Time Changes 4.91
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Product details

  • Audio CD (2 April 2012)
  • Number of Discs: 2
  • Format: CD
  • Label: Sony Music Classical
  • ASIN: B005JC1YR2
  • Other Editions: MP3 Download
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 131,703 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Disc 1:

Song Title Time Price
Listen  1. Introduction0:380.99  Buy MP3 
Listen  2. St. Louis Blues 8:420.99  Buy MP3 
Listen  3. Three To Get Ready 5:370.99  Buy MP3 
Listen  4. These Foolish Things (Remind Me Of You)10:240.99  Buy MP3 
Listen  5. Cielito Lindo 4:570.99  Buy MP3 
Listen  6. La Paloma Azul (The Blue Dove) 5:200.99  Buy MP3 
Listen  7. Take The "A" Train 5:550.99  Buy MP3 
Listen  8. Someday My Prince Will Come (From The Walt Disney Film, Snow White & The Seven Dwarfs) 6:140.99  Buy MP3 

Disc 2:

Song Title Time Price
Listen  1. Members Presentation 1:070.99  Buy MP3 
Listen  2. Swanee River10:260.99  Buy MP3 
Listen  3. I'm In A Dancing Mood 3:190.99  Buy MP3 
Listen  4. You Go To My Head 8:510.99  Buy MP3 
Listen  5. Set My People Free 6:290.99  Buy MP3 
Listen  6. For Drummers Only11:430.99  Buy MP3 
Listen  7. Take Five 8:180.99  Buy MP3 

Product Description

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Customer Reviews

4.2 out of 5 stars
4.2 out of 5 stars
Most Helpful Customer Reviews
7 of 7 people found the following review helpful
5.0 out of 5 stars Wonderful memories 2 Dec 2011
Format:Audio CD
What a loss to modern small group jazz when Dave decided time had come to move in other directions.
The music sounds as fresh today as it did during the years leading up to this long forgotten recording.
Dave may not have pleased some jazz fans but he certainly was approved of by the wider public.
His music continues to be used for 'commercials' of the present time. There could be no greater complement. Four top grade musicians playing at the peak of their ability almost as one.
There maybe some imperfections in this recording but this does not detract from the music which could have been lost but for a visit to Dave by the records' producer, Russell Gloyd, just over 2 years ago. What a chance find !!! Recorded almost 44 years ago you could well believe you were actually at the concert as it sounds right up to date.
Over 90 mins of quality playing with superb informative booklet, surely a bargain.
No serious appreciator of modern jazz should be without this historic recording.
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4 of 4 people found the following review helpful
4.0 out of 5 stars Their Last Time Out - Dave Brubeck 22 May 2012
Format:Audio CD|Verified Purchase
The music and the performances are typical of the quartet at their best. I only gave it 4 stars because of the slightly below par recording - Dave explains why - but DON'T let this put you off, it's only a very small consideration and this is a must for all Brubeck fans.
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12 of 14 people found the following review helpful
3.0 out of 5 stars A curate's egg I am afraid! 14 Dec 2011
Format:Audio CD|Verified Purchase
I have listened to the DBQ since they stunned the jazz world all those years ago. I have joyed in every performance live or on CD. I am told that the pressure was telling during the last year or so of the quartet, and it was 'time' to move on. This performance hints at that, several decent performances, but Desmond, on some tracks, sounded distracted, even my favorite drummer's performace on the second half seemed well below par.;even DB seemed ill inspried by the occasion.My impression was that the decision to move on was the right one. Fan's should buy this out of loyalty, put it away, and listen to those iconic performances on previous albums.
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5.0 out of 5 stars brubeck 28 Nov 2013
Format:Audio CD|Verified Purchase
a good vintage CD of the quartet something to remember him by, a genius musician. a good cd for the collection.
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Most Helpful Customer Reviews on (beta) 4.6 out of 5 stars  33 reviews
58 of 58 people found the following review helpful
4.0 out of 5 stars Great Way to Go Out! - 4.5 stars 17 Nov 2011
By John Tapscott - Published on
Format:Audio CD
The Dave Brubeck Quartet consisting of Brubeck, Paul Desmond, Eugene Wright and Joe Morello, played its final concert in Pittsburgh, Pa. on December 26, 1967. Luckily the concert was recorded (though not by Columbia) and the tapes finally discovered last year among Brubeck's personal collection. While there are no great surprises here, there is a sense of excitement in the playing and the solos, especially those of Brubeck himself. Desmond's flowing, lyrical alto solos are always a delight to hear; he was really at his best in the Brubeck Quartet. Despite the go-for-broke atttitude, the group maintains the legendary tightness and discipline developed over years of playing together. The program includes a number of Brubeck originals new and old, as well as some standards often played by the quartet. Every tune is noteworthy with La Polama Azul, Swanee River, I'm in a Dancing Mood, These Foolish Things, and Set My People Free being special highlights. The mono sound is decent and easily listenable. The only real drawback is that Desmond is slightly under-recorded on some tracks.

The Dave Brubeck Quartet may have been finished this night but they went out in grand style and this concert recording will greatly please the Quartet's many fans.
42 of 43 people found the following review helpful
5.0 out of 5 stars Dave restores Duke's theme to Sweet Pea 31 Jan 2012
By Samuel Chell - Published on
Format:Audio CD
To my ears the most arresting piece in the performance is "Take the 'A' Train" which, like Billy's "Satin Doll," has never sounded like a Strayhorn composition. In both cases, the chords and their progression are simply too conventional to evoke the more elusive and exotic harmonies that distinguish a Strayhorn tune. "Take the A Train" was the first track on Dave's wildly popular "Jazz Goes to College," the LP that introduced many of us to the Brubeck Quartet, since like Miles' "Kind of Blue" it was one of tens of thousands of copies sent out by the Columbia Record Club to a nation of subscribers. On the present occasion, Dave completely transforms the song into something worthy of the composer of "Blood Count" and "UMMG." Taken at an uncharacteristically fast tempo, "A Train" oscillates between major and minor, occasionally playing with augmented chords that make the normally major key all the more indeterminate--and suggestive of Strayhorn.

Overall, this is one of the most satisfying sessions by this complement of players. Morello fans, especially, are likely to find the percussionist featured more prominently than on any other recording that comes to mind. And although i've read complaints about Paul's horn being slightly off mike, the instrument that suffers the most is Eugene Wright's bass, which is muddy, distant and unfocused in the mix (is it possible the recording was made with a single microphone placed at the rear of the auditorium?) Whatever the case, the music soon overrides any shortfalls in the quality of the audio. But, if anything, the realism is enhanced by the circumstances of this monaural recording, which sounds as though a single premium mic might have been used, one capable of being a stand-in for the audience member's perspective. It's unlikely that any other recording captures the force of Dave's legendary heavy, two-fisted attack (Oscar Peterson used to complain about following Dave into a club: after a Brubeck beating, a single tuning of the piano was never sufficient to bring it back up to speed. (To be fair, Dave's playing on "La Paloma Azul" is sublimely lyrical--and subdued.)

There's no gainsaying the high quality of the playing or the significance of the moment. But there's also no denying that the historical importance of this previously unreleased date is subject to a certain amount of exaggeration. In 1963 the same four musicians had recorded a killer concert in New York City's Carnegie Hall, which is arguably their most electrifying and satisfying recording of all--especially to close jazz followers who, unlike the more casual masses, do not regard the introduction of Desmond's "Take 5" and the studio album "Time Out" (1959) as representing the high-water mark of the music's entire history. Moreover, after the group had disbanded, they would reunite, most notably for the 1976 release, "The 25th Reunion Concert," which carries with it the added drama of the moment--the detached retina suffered by Joe Morello during the making of the record (necessitating that it be a compilation of two concerts) and the heroic performance of Paul Desmond, who was then in the late stages of terminal cancer.

Nevertheless, the present album deserves to occupy a place, at the very least, alongside the aforementioned two concerts. It indeed was the final concert by the four musicians who had, perhaps more than any other group, made the small combo almost as vital to jazz in the minds of the public as big bands were during the late '30s and first half of the '40s. Granted, there were also the "hard bop" groups of Art Blakey, Horace Silver and Cannonball Adderley, the "classical" jazz of The Modern Jazz Quartet, and the musically influential small ensembles of Miles Davis, John Coltrane, and Bill Evans. But Brubeck's was the group that reached the broadest cross-section of the American public, with all of the quartet's international travels as well as Dave's thematic studio ideas documented on big-label Columbia Records, prior to release throughout the country by the Columbia Record Club, a mail-order service that serviced tens of thousands of subscribers from its offices in Terre Haute, Indiana.

In diametrically opposed contrast, "Their Last Time Out" contains music that went unnoticed by Columbia Records. Recorded by amateurs in Pittsburgh, the day after Christmas, 1967, the music is not even in stereo. Nevertheless, the "novelty" factor of stereo has worn off sufficiently, and the music is of such undeniably high quality, that there's little doubt that, for the majority of listeners, substance will prevail over audio quality or packaging. This is the commercially-successful Brubeck Quartet at its very best. If it lacks some of the excitement of the two concert recordings mentioned above, it surpasses them in the sheer musicality of the proceedings. On this occasion, the quartet plays "music" rather than the "audience." It has nothing to prove; it would be simply another gig, were it not the last one. But it represents the kind of relaxation and mastery that make for timeless music--playing that is inexhaustible, capable of maintaining its welcome freshness, regardless of how often the listener returns to it.

There's no argument about which was Dave's best group over his singularly long career: it was these four musicians who, if anything, are ironically "underrated" by many contemporary young players, whose roots are far more deeply implanted in the fertile soil of the Parker-Davis-Coltrane tradition than that of Brubeck. In fact, both Desmond and Brubeck are among the most unique musicians in the music's history. Neither legend has spawned any recognizable imitators or proteges to speak of.

I hope it will be taken as no sleight to this group or this recording, but if I were to attempt to "win over" a young musician, or even a former Brubeck detractor (during the '50s there was no small number of musicians who, armed with their numerous Blue Note recordings, heaped relentless disparagement upon, and even animosity towards, Brubeck, Desmond, and numerous other white musicians associated with "West Coast," "cool jazz"), I would look to the recordings preceding the Columbia dates. "Jazz Goes to Oberlin" and "Jazz at the College of the Pacific" continue to impress, especially for the imaginative heat, more than most of the ensuing "smash hit" albums on Columbia. "Jazz Goes to College" would be an exception, another example of playing that's daring, unfailingly inspiring and unpredictable. Yet all of these early recordings have nondescript rhythm sections. The bass player and drummer may not approach the level of musicianship exhibited by Joe Morello and Eugene Wright, but they're unselfish "service musicians," who merely lay down a solid 4/4 and stay out of Brubeck's and Desmond's way. The results speak for themselves, making manifest the place Desmond had earned right alongside Charlie Parker as the other dominating alto voice of his era. Still, it surprises many to hear the radio interview on which Bird compliments Desmond as one of jazz's great innovators, and Paul returns the compliment to Bird, who responds that he was far from finished (sadly, that was not to be the case).

But as for Joe Dodge, Norman Bates, and the other nearly forgetten drummers and bass players who accompanied Brubeck and Desmond on most of their 1950s albums, they could not have served their employers any better, providing invaluable support--for the two front-line players and for those of us who still shake our heads in wonderment at the unprecedented, timeless creativity that characterized these early meetings between Dave and Paul. Listening to Dave in the company of Gerry Mulligan, Bill Smith and a succession of acclaimed jazz players and then directing our attention to Paul in the quiet, intimate surroundings of the Modern Jazz Quartet or in a group replacing piano with guitar, is inescapably a "let-down." But it's also a moment when the listener is apt to become keenly aware of the degree to which Dave and Paul served as catalysts to one another, resulting in some of the most inimitable, exciting music of jazz mid-century. In fact, their music--whether on their first album or the last--is bound to strike many of us as no less freshly minted in the new millennium as it did when we first heard it. As this latest example demonstrates, their music was not so much characterized by an exclusive focus on time signatures and meters as it was--and is--a "timeless" art, equally resistant to classification and obsolescence. Neither Brubeck nor Desmond had any use for "closure"; so, too, the listener is likely to discover this music, though captured during the middle of the 20th century, no less inspiring--and inspiriting--in the second decade of the 21st. In fact, I have little doubt that some of their grandchildren will discover its flame undiminished as we approach the century following the current one.
15 of 15 people found the following review helpful
5.0 out of 5 stars The last original Brubeck Quartet album 18 Mar 2012
By Steve - Published on
Verified Purchase
I hear a few cuts from this album on KJZZ, one of the last remaining jazz stations on the radio. I get it on the internet because I have moved away from the Los Angeles area, and happened to be listening during one of their pledge drives recently (it broadcasts out of Cal State Univ. Long Beach, so it gets no advertising revenue) and they were playing songs from some of the albums they were giving as premiums for becoming a member.

I am a huge Brubeck Quartet fan. Hearing Take Five on the radio when I was a teenager in the very early '60s got me into jazz. This album was recently found and just released last year although it is many years old. It is the last studio recording done by the original Quartet and the tape was put in a box and forgotten for years. It was discovered last year and put out for us to hear. It is typical, classic Brubeck with most of the old standards, but is well worth listening to. There are subtle differences in this performance compared to the ones on earlier albums. That's what is so great about jazz -- always something new. Just when you think you've heard it all, there is something new, no matter how subtle.
4 of 4 people found the following review helpful
5.0 out of 5 stars Brubeck in Pittsburgh ... the last time 18 Mar 2012
By hippy Mac - Published on
Format:Audio CD|Verified Purchase
Brubeck is an icon. Desmond is still my fave alto player. To have this historic CD rounds out my large Brubeck collection. My ears are smiling! Thank you!
2 of 2 people found the following review helpful
4.0 out of 5 stars Unstressed, unpretentious, casual gig, perfect chemistry 2 July 2013
By Denis Vukosav - Published on
Format:Audio CD
A double CD recording of the last concert of the legendary pianist Dave Brubeck Quartet held on 26th December 1967 in Pittsburgh. With Brubeck played alto saxophonist Paul Desmond, bassist Eugene Wright and drummer Joe Morello.

Desmond played with Brubeck since the 40s, and they worked almost for ten years. With bands of Miles Davis, Cannonball Adderley and John Coltrane and the Modern Jazz Quartet, they were one of the most important bands of the 60s, which left behind some of the iconic achievements of jazz discography.

Although up to now has not been released, and is taken from the personal archives of Brubeck and not recorded back then with the best possible equipment, it is mono, but the sound and playing technique is of very high quality and will occupy an important place in the rich Brubeck discography.

Of the biggest hits of the quartet they performed only Brubeck "Three To Get Ready" and the legendary Desmond "Take Five", which was at this concert lasted more than eight minutes (interestingly, no drum solos even though the author wrote just for Morello, which in its original version nicely improvises), one Wright and Morello and a dozen jazz standards, including "St. Louis Blues", "Take The A Train", "Someday My Prince Will Come", "You Go To My Head", "Swanee River" and "These Foolish Things (Remind Me On You)".

This repertoire indicates unstressed, unpretentious, casual gig with modifications inspired solos, with, of course, the perfect chemistry of musicians who know the soul. Particularly are exciting solos of Paul Desmond who in some versions ingeniously evokes oriental musical figures.
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