In 1949, Brubeck with Cal Tjader and Ron Crotty, fellow Octet members, cut their first award-winning Dave Brubeck Trio recordings. This cross-genre experimentation with like-minded Milhaud students led to the formation of the Dave Brubeck Octet in 1947. Milhaud encouraged him to pursue a career in jazz and to incorporate jazz elements into his compositions. After his discharge from military service in 1946, he enrolled at Mills College in Oakland, California to study composition with French composer, Darius Milhaud. While serving in Patton’s Army in Europe, he led a racially integrated band. Graduating in 1942, he enlisted in the Army, and shortly thereafter married Iola Whitlock, a fellow student at Pacific. While working his way through school as a pianist in local nightclubs, the lure of jazz became irresistible and he changed his major to music. When he enrolled at the College of the Pacific, in Stockton, California, his intention was to study veterinary medicine and return to the ranch. When he was 14, he started playing in local dance bands on weekends. He worked with his father on the 45,000 acre cattle ranch. Piano lessons ended and cowboy life began. He was 12 when his father moved the family to a cattle ranch in the foothills of the Sierras. With a career that spanned over six decades, his experiments in odd time signatures, improvised counterpoint, polyrhythm and polytonality remain hallmarks of innovation.īorn into a musical family in Concord, California - his two older brothers were also professional musicians - he began piano lessons with his mother at age four. Recorded on J(tracks 4-6), J(tracks 2,3), Aug(tracks 1,7) au Columbia 30th Street Studio, New Yorkĭesignated a “Living Legend” by the Library of Congress, was one of the most active and popular musicians in both the jazz and classical worlds. And for that reason, the decades may pass and tastes may change, but it will always be the right time for Time Out. For all his seriousness and ardor, Dave Brubeck had somehow recaptured a sense of childlike wonder in this project. But the appeal of this album-in 1959 and today-is less in the rules it broke, and more in the sheer sweep and effervescence and pure unadulterated fun of the music. The experimental meters of Brubeck's music set Time Out apart from the pack. 'Take Five,' the surprise radio hit from Time Out, would enter the record books as the first million-selling jazz instrumental single on the Billboard Hot 100, and 'Blue Rondo à la Turk' would become an instant classic. To be released in both mono & stereo at the same time, and their 13th record for Columbia.ĬL 566 - Jazz Goes to College - Dave Brubeck Quartet Featuring Paul Desmond ĬL 590 - Dave Brubeck at Storyville: ĬL 622 - Brubeck Time - Dave Brubeck with Paul Desmond ĬL 699 - Jazz: Red Hot and Cool - Dave Brubeck with Paul Desmond ĬL-878 - Brubeck Plays Brubeck - Dave Brubeck ĬL-932 - Dave Brubeck and Jay & Kai at Newport - Dave Brubeck and Jay & Kai Quintet ĬL-984 - Jazz Impressions of the U.S.A.1959 was a banner year for jazz, but no album captured the public's attention like Dave Brubeck's Time Out. Since i was looking it up, here's some trivia, Time OUT was the 5th Brubeck album What a fantastic sounding album.Ĭlick to expand.Yes, i was expanding on the same point. I have several copies, but I consider selling extras and keeping the best sounding 6-eye of both a mono and stereo pressing. Later copies have 'Featuring Take Five' labeled, and add the Columbia Records icon, and stereo icon, and later changed the cat. My TT is in repair at the moment, so can't say for sure, but I'm guessing one is mono, the other stereo.Īs far as covers go, I believe the earliest copies have 'Time Out' in blue letters with a red line below it with a pink catalogue # CL 1397 on the cover and blue font on the spine. spaced out a bit further than the other and the titles are spaced slightly differently as well. On the record labels, I have 2 nearly identical copies but one has the lettering for all titles, etc. The lower # & letters are generally the more sought-after pressings. The higher the numbers/further down the alphabet you go the later the pressing. Someone please correct me if I'm wrong, but I believe a first pressing Columbia of that era can be identified basically by having '1A' at the end of the matrix.

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