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Time Further Out [Extra tracks]

Dave Brubeck Audio CD

Price: £10.56 & FREE Delivery in the UK. 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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for 293 albums, 7 photos, discussions, and more.

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Frequently Bought Together

Time Further Out + Time Out
Price For Both: £15.91

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  • Time Out £5.35

Customers Who Bought This Item Also Bought

Product details

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

Product Description


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

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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.8 out of 5 stars  43 reviews
75 of 76 people found the following review helpful
5.0 out of 5 stars Incomparable 10 Feb 2007
By clikdawg - Published on Amazon.com
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. Buddy Rich blazes, Krupa stokes those fires down below, Max Roach'll make you think intricate interlocking thoughts; hell, even Ron Bushy (the "In-A-Gadda-Da-Vida" guy) and John Bonham and Terry Bozzio deserve the attention they recieved. The current crop of jazz meisters have chops and technique far beyond the abilities of mortal men --

But nobody -- NOBODY -- tells a story like Joe Morello. Nobody makes 'em talk like that, makes 'em sing like that, or puts you somewhere out in the jungle listening to four or five hand-drummers having an honest-to-god conversation. You know how Eric Clapton never tries to fast-talk you on guitar? That's how Morello is on drums.

Back in '61, drum construction had not yet gone all-maple-plies-and-razor-sharp-bearing-edges; the base was still the African mahogany of Krupa's day, mixed with a little poplar, and the sheer sound, the deep, mellow tone, of those drums is one reason folks will still be listening to solos from pre-1970 long after those who played them have left the planet. Morello doesn't have to hit you over the head with speed or technique -- just let the drums speak for themselves.

Seductive, mon, seductive ...
15 of 15 people found the following review helpful
5.0 out of 5 stars Brubeck truly shows his skill in this excellent album. 12 Nov 1998
By A Customer - Published on Amazon.com
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!
16 of 17 people found the following review helpful
5.0 out of 5 stars BACK TO MY ROOTS 9 Jan 2007
By Larry Schwartz - Published on Amazon.com
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.
10 of 10 people found the following review helpful
5.0 out of 5 stars Now that Brubeck is Dead ... 9 Jan 2013
By Giordano Bruno - Published on Amazon.com
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. The "story" is that Brubeck couldn't learn to read music as a child because of poor eyesight, and that he faked his way "by ear" through classical piano lessons from his mother and others. It's very likely true, but not the whole truth. Brubeck also went on to study music theory at Mills College with Darius Milhaud and at UCLA with Arnold Schoenberg. The bottom line is that Brubeck was a musician who could not NOT know what he was playing and where his music should be going next. If you wanted your jazz raw and ferocious in the 1950s and 1960s, the Dave Brubeck Quartet was probably not your cuppa. Brubeck's jazz drew you into the music for music's sake rather than into yourself for emotional release.

This album is a cross-section of Brubeck's musical forms and moods, some blues-based, some ragtime, some dance, and some madrigalesque chromatic exploration. The second track - Bluette - is as chromatically acute as a Gesualdo madgrigal. It's pure joy to be "blue" in Brubeck's acoustic world. The whole CD is self-consciously an assertion that jazz need not be utterly bounded by minor-key eight-to-the-bar traditions. The time signatures include two pieces in 3/4, two in 5/4, one each in 6/4, 7/4, 8/8, and 9/8. It's calculated rhythmic virtuosity yet it also "swings." If you want anger in your jazz, you won't find it here. Brubeck's own "jazz favorite" was Duke Ellington, another joyful swinging entertainer. Was "race" a factor in Brubeck's career? No one could have been more aware of racial divisions, or more committed to ignoring them, than Dave Brubeck, a Swiss-German California farm boy whose army service in WW2 was as part of an "integrated" band called The Wolfpack, one of the earliest integrated ensembles in US military history.
8 of 8 people found the following review helpful
5.0 out of 5 stars Another gem! 26 July 1998
By A Customer - Published on Amazon.com
Format:Audio CD
What an accomplishment by Brubeck. The album is solid from start to finish, and again provides endless fun in following the different rhythms, meters, not to mention Brubeck's harmony, Desmond's melodicism, and Morello and Wright's improvs. "Unsquare Dance" is just great; 7/4 seems to be the most uneven of the unevens (moreso than 5/4, I think) and Brubeck is right on in his liner notes when he writes it "refuses to be squared". Also notable is the extremely upbeat and joyous "Raggy Waltz", the eerie "Bluette", and the even more exuberant "Charles Matthew Hallelujah". Great, great stuff.
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