The Dave Brubeck Quartet -Time Out-

In memory of Dave Brubeck (December 6, 1920 – December 5, 2012)

Dave Brubeck 戴夫.布鲁贝克是爵士史上不朽的传记明星,他为酷派钢琴竖立了典范,更为爵士乐与古典音乐间架设了完美的沟通桥樑。

今年八十多岁的美国白人爵士钢琴大师戴夫·布鲁贝克曾是个二战老兵,於1944年被派往欧洲反法西斯战场,一直打到柏林。那个年代的战争风云和人生遭际无疑给戴夫留下了难以磨灭的记忆。

在布鲁贝克不朽的音乐生命当中曾经有过无数难忘的片刻,而他选择用琴键去纪录这每分每秒。在这张令人动容的钢琴独奏专辑里,布鲁贝克想起了他自己在二次大战时的从军回忆,指间缓缓的流泄出四零年代留声机里常听到的声音。

专辑里面每一首乐曲都是非常好听的,而且戴夫.布鲁贝克的大师殿堂级的演绎,更加让美妙的爵士钢琴曲更添魅力!
《Take Five》是一支为爵士乐做出划时代贡献的乐曲,也是爵士历史上最有名的乐曲之一。是否觉得Take Five这两个单词看上去似乎眼熟了?因为现在全世界以Take Five命名的咖啡厅、酒吧、店舖或是乐团太多了,所以才会使人有这种感觉。

上世纪五十年代末,Dave Brubeck Quartet组合中的灵魂人物中音萨克斯手Paul Desmond写了这一首名叫Take Five的四重奏乐曲,最开始时这首爵士乐以单曲的形式发行,由於採用了极为罕见的5/4拍,这在当时的爵士音乐界引起了强烈震动,并受到广泛批评,但在符合大眾口味的金曲排行榜上却可以和彼时如日中天的猫王的歌曲抗衡。   

以后的时间证明了,这种复杂节奏改变了当时人们陈旧、萎靡和一成不变的听力习惯,同时在探索爵士节奏的可能性上作出了深远影响。

21世纪福克斯公司也曾经将此曲用做电影题头。
  
由於Paul Desmond在爵士历史上的地位与名气都远远不如Dave Brubeck,《Take Five》的曲作者经常被误以为是Dave Brubeck。而实际上由Dave Brubeck、Paul Desmond、Joe Morello、Eugene Wright组成的四重奏组合在1959年发行的专辑《Time Out》里,Dave Brubeck的确是除《Take Five》之外的所有乐曲的作者,这张专辑中八分之九拍、四分之五拍、四分之六拍等诸多非常规爵士乐节拍也有出现,但《Take Five》在爵士乐史上石破天惊的意义显然非专辑中其他乐曲可以比拟,在后来发行的绝大多数关於Dave Brubeck Quartet的精选专辑中,几乎100%都会收录。

Dave Brubeck – piano
Paul Desmond – alto saxophone
Eugene Wright – bass
Joe Morello – drums

Recorded – June 25, 1959 (4-6); July 1, 1959 (2,3); August 18, 1959 (1,7)
at Columbia 30th Street Studio, New York.

SACD Producer: Moto Uehara (SME Records, Japan).
Re-Mastering Engineer: Stephan (SME Records, NY).

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 its 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.

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