#Brubeck take five tv

I'm the one that put them together and said, 'We can make a tune out of this. Dopa, depa, depa, dopa, lom, bom, bom, bom. He didn't know which was the first or the second. 'Paul came in with two themes unrelated, and I put it together as a tune and made a form out of it,' Brubeck says. Desmond is credited with composing 'Take Five,' but Brubeck says the tune was a group project with Desmond providing two main ideas. Morello was referring to alto saxophonist Paul Desmond, who first played with Brubeck in the late 1940s before joining Brubeck's trio in 1951. So I kept asking Dave - I said, 'Why don't you write a song' - now he's the composer in the group, so finally Desmond said, 'I'll write something.'' The tune that I was working with Dave was 'Sounds of the Loop,' but on the drum-solo part, I'd just go into five-four and that's how that all started.

'We'd close a concert with that because we'd get 'em standing and screaming and all of that. 'Dave used to feature me all the time for the drum solo,' drummer Joe Morello says. Much of the album was close to being worked out when Brubeck decided to add a tune in five-four time. So instead of reworkings of jazz standards or tunes of the day, you got 'Blue Rondo a la Turk,' a song in nine-eight, as well as 'Pick Up Sticks,' 'Strange Meadow Lark' and 'Take Five.' And it's about time somebody did something like this.'' 'I remember him saying, 'We don't need another copy of 'Stardust' or 'Body and Soul.' We've got so many. Lieberson really liked what Brubeck was doing. Of course, it did get released in 1960, but only because then-label president Goddard Lieberson intervened. They wanted you to do standard Broadway shows and standard tunes from the love songs of the day or the hits of the day.' If you did all original compositions, you usually couldn't do that. And also, it was all originals, and they were against that. 'It may have happened in classical, I don't know. 'I had a painting on the cover, and that hadn't happened in jazz,' Brubeck said. When he finally let them in on what he was doing, the marketing department became nervous about releasing the album, and not just because of the strange meters. Brubeck's label at the time, Columbia, didn't know about his plans.

The first theory is what drives African music the second is tied closely to classical.īrubeck had been playing in odd time signatures back in the late 1940s, but it wasn't until he returned from a trip to Turkey in 1958 that he thought about doing an entire album in different time signatures, like six-four, three-four, nine-eight and, in 'Take Five,' five-four. Brubeck had always been interested in polyrhythm and polytonality. A lot of new things were happening in jazz in those days, but rhythmically, the music was still being played mostly in four-four time. That was the year Miles Davis and Gil Evans introduced the jazz audience to modal music with the landmark album Kind of Blue, John Coltrane released Giant Steps and Art Farmer and Benny Golson formed their first jazztet. 'Take Five' was the third track on the album Time Out, recorded in 1959. 'It's time that the jazz musicians take up their original role of leading the public into a more adventurous rhythm,' he said.īrubeck said it's a good idea to shake things up a bit, and that's exactly what he did with the song 'Take Five.' He said it wasn't challenging the public rhythmically the way it had in its early days.

#Brubeck take five tv

In 1961, Dave Brubeck told Ralph Gleason on the TV program Jazz Casual that jazz had lost some of its adventurous qualities.