Time Out

1	Blue Rondo a la Turk 6:46
2	Strange Meadow Lark 7:24
3	Take Five 5:26
4	Three to Get Ready 5:25
5	Kathy's Waltz 4:50
6	Everybody's Jumpin' 4:24
7	Pick up Sticks 4:16

Barnes & Noble

Not many authentic jazz albums yield hit singles: Time Out is one of them. “Take Five,” a melodic gem riding a hypnotic 5/4 rhythm composed by the group’s star saxophonist, Paul Desmond, captured the airwaves in 1959. Pianist Dave Brubeck had been popular before, but the single and album made him a bona fide jazz superstar. “Take Five” maintains its luster to this day, as do such superior performances as "Blue Rondo à la Turk" and "Strange Meadowlark." Time Out exhibits both the indivisible unity of the Brubeck quartet and the outstanding individual contributions of Desmond, with his stunning “dry martini” tone, drummer Joe Morello, a technically adept master of unusual time signatures, and the leader, whose eccentric improvising remains inimitable. The opener's rhythmic novelty may have drawn initial attention to this legendary album, but the memorable tunes and outstanding playing made it a keeper. There’s a reason that this classic remains a favorite long after Brubeck’s spectacular popularity has worn off. Steve Futterman

All Music Guide

Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous "Take Five," Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic "Blue Rondo à la Turk" blends jazz with classical form and Turkish folk rhythms, while "Take Five," despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as it's become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection. Steve Huey