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Time Further Out Extra tracks

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£16.71 & FREE Delivery in the UK on orders over £20. Details Only 2 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

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Image of album by Dave Brubeck


Image of Dave Brubeck


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

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

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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 46 reviews
81 of 82 people found the following review helpful
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 ...
12 of 12 people found the following review helpful
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.
13 of 13 people found the following review helpful
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
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.
8 of 8 people found the following review helpful
One of the Quartet's better "studio albums" 12 Feb. 2013
By Caponsacchi - Published on Amazon.com
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. As a sophomore with a sophomoric, clueless attitude I expressed my disappointment to Dave about his recent studio recordings (including "Time Out," which struck some of us as another pro forma studio performance with the exception of the gimmick of unusual time signatures in jazz. Mine was a thoughtless, utterly graceless remark, but Dave was the father of boys who frequently went off in directions--electric bass, synthesizers, etx.--that were alien to the nevertheless patient and supportive "old man." In short, Dave Brubeck agreed with me! Shortly after, the quartet would perform a live 1963 concert in Carnegie Hall that many now consider their best performance of all time (At Carnegie Hall, And 3 years later, in 1966, Dave would kill off the quartet and seek new avenues of expression.

Still, I felt mortified every time I reflected on my "telling" Brubeck that his studio albums, including "Time Out," just didn't quite cut it. It was only much later--in 1994, to be exact--that I acquired the CD of Marian McPartland's "Piano Jazz," featuring Dave Brubeck, in what certainly must be among the very best programs in the show's 30+ year history. Besides performing scintillating duets using two pianos on some of Dave's best compositions--"The Duke," "In Your Own Sweet Way," "One Moment Worth Years," "Summer Song"--Marilyn soon brings out in Dave a youthful excitement as he talks about the early quartet--leading Marilyn to make the comment that I had regretted for 3 decades: "You know, Dave, I always prefer to be recorded live and I have the sense you to do too. The recordings before a live audience with you and Paul simply can't be beat!" Dave's response (in essence): "How right you are, Marilyn. I always prefer recording live--even now you're coming up with voicings and melodies that I've never thought of, and they're my own songs!" He then recalls some of the Quartet's early '50s recordings, singling out his performance of "Over the Rainbow" for special mention, despite its being recorded by an amateur hobbyist on a cheap tape machine. I wasn't exactly "vindicated" (I was clearly in the wrong), but I was relieved--one less thing not to have to regret. Dave would reconvene the Quartet in 1975--the 9-year hiatus brought to an end in the face of Paul's terminal illness and Morello's failing eyesight--for one last glorious concert--again before a "live" audience in Carnegie Hall.

The foregoing is certainly not "proof" of anything on this present recording and not a recommendation for or against purchase of the album, which is one of the few by the quartet with a deliberate, thinly disguised (if not blatant) profit motive--a "sequel" to the success of the album containing "Take 5." Of course it adheres to the formulaic pattern of a successful studio album--more rather than fewer tracks, time lengths agreed upon in advance, a carefully calculated balance of fast / slow, major / minor, individual feature numbers for each member of the quartet. But on the whole the album is looser, less stiff, more fearless than most recordings done during costly studio time. Above all, it "swings" more than Dave's other studio albums. Some of the lyrical beauty of Paul's playing shines through on "Bluette," Dave exhibits some of the "bombast" that was often a signature of his live concert soloing (as an accompanist, on the other hand, he's one of the most empathetic, "quiet" pianist of all). The program makes for good background music (try "Slow and Easy") or party music (try "Bru's Boogie Woogie") or just plain serious, undistracted listening.

Most importantly, the album invites the listener to be the judge of the concerning the "studio" vs. "live" debate. The last track is a different, "live" version of the introductory "studio" tune, "It's a Raggy Waltz," except that the tempo is faster and the total time more than a complete minute longer than the earlier studio version. If you judge this final performance on the disc the better track, you're about to discover the real Brubeck and Desmond, the recordings inviting serious listening and undivided attention. Grab ahold of "Jazz Goes to College," "At Oberlin," and "Carnegie Hall 1963" (which is the source of this final, extra, live track). You're about to hear a couple of master storytellers at work, leaving nothing behind (Paul's playing on the "Blue Rondo" of "Brubeck at Carnegie Hall '63" makes the original version on "Time Out" sound anemic and incomplete).
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