Take Five - The Dave Brubeck
Quartet (1959)- 5.19 min
"Take
Five" is a jazz piece written by Paul Desmond and performed by The Dave
Brubeck Quartet on their 1959 album "Time Out". Recorded at
Columbia's 30th Street Studios in New York City on June 25, July 1, and August
18, 1959, this piece became one of the group's best-known records, famous for
its distinctive, catchy saxophone melody and use of the unusual quintuple (5/4)
time, from which its name is derived. While "Take Five" was not the
first jazz composition to use this meter, it was one of the first in the United
States to achieve mainstream significance, reaching number five on Billboard's
Adult Contemporary Singles chart. "Take Five" was re-recorded and
performed live multiple times by The Dave Brubeck Quartet throughout the
group's career. In addition, there have been various covers of the piece.
"Take Five" has also been included in countless movies and television
soundtracks, and still receives significant radio play. Upon his death in 1977,
Desmond left the rights to royalties for his performances and compositions,
including "Take Five", to the American Red Cross, which has since
received combined royalties of approximately $100,000 per year. "Time
Out" is a 1959 album by The Dave Brubeck Quartet, based upon the use of
time signatures that were unusual for jazz (mainly waltz or double-waltz time,
but also 9/8, and most famously 5/4). Although the album was intended as an
experiment and received negative reviews by critics upon its release, it became
one of the best-known and biggest-selling jazz albums, reaching number two in
the U.S. Billboard Pop Albums chart. In 2005, it was one of 50 recordings
chosen that year by the Library of Congress to be added to the National
Recording Registry. The Dave Brubeck Quartet was a jazz quartet, founded in
1951 by Dave Brubeck and originally featuring Paul Desmond on saxophone and
Brubeck on piano. David Warren 'Dave' Brubeck (December 6, 1920 -- December 5,
2012) was an American jazz pianist. He has written a number of jazz standards,
including "In Your Own Sweet Way" and "The Duke". Brubeck's
style ranged from refined to bombastic, reflecting his mother's attempts at
classical training and his improvisational skills. His music was known for
employing unusual time signatures, and superimposing contrasting rhythms, meters,
and tonalities. Paul Desmond (November 25, 1924 -- May 30, 1977), born Paul
Emil Breitenfeld, was a jazz alto saxophonist and composer born in San
Francisco, best known for the work he did in The Dave Brubeck Quartet and for
penning that group's greatest hit, "Take Five". He was not only one
of the most popular musicians to come out of the West Coast's 'cool jazz'
scene, but also the possessor of a legendary and idiosyncratic wit. In addition
to his work with Brubeck he led several of his own groups and made significant
collaborations with artists such as Gerry Mulligan, Jim Hall and Chet Baker.
After years of chain smoking and general poor health, Desmond succumbed to lung
cancer in 1977 following one last tour with Brubeck. This channel is dedicated
to the classic jazz music you've loved for years. The smokin' hot, icy cool
jams that still make you tap your feet whenever you hear them . . . Cool Jazz
is here!
For music videos of the Old School funk, go to:
www.youtube.com/djbuddyloveold school
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For music videos of the Old School funk, go to:
www.youtube.com/djbuddyloveold school
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The Dave Brubeck Quartet -
Blue Rondo à la Turk- 6-46 MIN
From
the album "Time Out" (1959, 1997) by The Dave Brubeck Quartet.
Tracklist:
1. Blue Rondo à la Turk
2. Strange Meadow Lark
3. Take Five
4. Three To Get Ready
5. Kathy's Waltz
6. Everybody's Jumpin'
7. Pick Up Sticks
Tracklist:
1. Blue Rondo à la Turk
2. Strange Meadow Lark
3. Take Five
4. Three To Get Ready
5. Kathy's Waltz
6. Everybody's Jumpin'
7. Pick Up Sticks
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Time Out- album 1959-1997
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The Dave Brubeck Quartet -
Time Out [full album][HQ] 38.30 min
Release
date: 1959 Record label: Columbia Records
MORE amazing albums @ http://bocavasionski.wordpress.com/
Track list:
01. Blue Rondo à la Turk
02. Strange Meadow Lark
03. Take Five
04. Three to Get Ready
05. Kathy's Waltz
06. Everybody's Jumpin
07. Pick Up Sticks
MORE amazing albums @ http://bocavasionski.wordpress.com/
Track list:
01. Blue Rondo à la Turk
02. Strange Meadow Lark
03. Take Five
04. Three to Get Ready
05. Kathy's Waltz
06. Everybody's Jumpin
07. Pick Up Sticks
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https://www.youtube.com/watch?v=j9QXpfvgSVk
Discography (with links to each song's starting point):
1. So What - 00m00s
2. Freddie Freeloader - 9m26s
3. Blue in Green - 19m19s
4. All Blues - 24m47s
5. Flamenco Sketches 36m23s
6. Flamenco Sketches (Alternate Take) 45m51s
Album Description:
Kind of Blue is a studio album by American jazz musician Miles Davis, released on August 17, 1959, by Columbia Records. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, with pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley. After the entry of Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) by basing Kind of Blue entirely on modality, in contrast to his earlier work with the hard bop style of jazz.
Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece.
This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed
The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Read more about the album on Wikipedia http://en.wikipedia.org/wiki/Kind_of_...
Discography (with links to each song's starting point):
1. So What - 00m00s
2. Freddie Freeloader - 9m26s
3. Blue in Green - 19m19s
4. All Blues - 24m47s
5. Flamenco Sketches 36m23s
6. Flamenco Sketches (Alternate Take) 45m51s
Album Description:
Kind of Blue is a studio album by American jazz musician Miles Davis, released on August 17, 1959, by Columbia Records. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, with pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley. After the entry of Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) by basing Kind of Blue entirely on modality, in contrast to his earlier work with the hard bop style of jazz.
Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece.
This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed
The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Read more about the album on Wikipedia http://en.wikipedia.org/wiki/Kind_of_...
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