+ ￥350 配送料
+ ￥350 配送料
Time Further Out インポート
Expanding on the concepts of the surprise hit Time Out , this album is all at once darkly ruminative, melodic, dissonant and engaging! Includes Bluette; Unsquare Dance; Bru's Boogie Woogie; Blue Shadows in the Street; Far More Drums , and more.
特にこのアルバムの中でも有名だと思われる「Un Square Dance」はDeep PurpleのキーボーディストのJohn Lordも自身のコンサートで取り上げており、Dave Brubeckがジャンルを問わず認められていることがうかがわれる。
４曲目「Far more blue」はタイトル通りに、最も彼ららしいサウンド、完璧な１曲。
ここからが凄い。５曲目は、同じフレーズで始まって、曲名も「Far more drums」。
「Unsquare dance」「Bru's boogie woogie」と、ホーンレスになったことを感じさせない曲が
ピアノを、ベースとドラムスが絶妙に支えていく「Blue shadows in the street」。
the playfulness of the arrangments makes listening relaxing and gets you in a good mood. Their recordings are always a treat. The LP itself was a clean 180 gram pressing from Imperex one of the best I have bought. They aim for quality from what I experienced with this disc.
Although the group's reputation was secured by the release in 1959 of "Time Out" with arguably the most popular jazz standard even today (Paul's "Take 5"), the series of studio albums that ensued were often tepid and sterile compared to the early recordings made before college audiences. In many respects "Time Further Out" is a more satisfying--even exciting and engaging--album than the immortal "Time Out." The musicians are looser, freer, more open to the possibility of "making mistakes" than was the case on the predecessor. Fans of Joe Morello (and there are justifiably many) will especially appreciate the small percussion "clinic" on "Far More Drums," and by the time the program gets to "Bru's Boogie Woogie" we begin to hear some of the unrestrained "bombast" that early on characterized Dave's playing (though he came to hate the word).
Shortly after the release of "Time Further Out" the Quartet came to my school, where I had the assignment of interviewing Dave for our college radio station (WVIK, Augustana, Rock Island, IL) in his dressing room at the end of the concert. As a sophomore with a sophomoric, clueless attitude I expressed my disappointment to Dave about his recent studio recordings (including "Time Out," which struck some of us as another pro forma studio performance with the exception of the gimmick of unusual time signatures in jazz. Mine was a thoughtless, utterly graceless remark, but Dave was the father of boys who frequently went off in directions--electric bass, synthesizers, etx.--that were alien to the nevertheless patient and supportive "old man." In short, Dave Brubeck agreed with me! Shortly after, the quartet would perform a live 1963 concert in Carnegie Hall that many now consider their best performance of all time (At Carnegie Hall, And 3 years later, in 1966, Dave would kill off the quartet and seek new avenues of expression.
Still, I felt mortified every time I reflected on my "telling" Brubeck that his studio albums, including "Time Out," just didn't quite cut it. It was only much later--in 1994, to be exact--that I acquired the CD of Marian McPartland's "Piano Jazz," featuring Dave Brubeck, in what certainly must be among the very best programs in the show's 30+ year history. Besides performing scintillating duets using two pianos on some of Dave's best compositions--"The Duke," "In Your Own Sweet Way," "One Moment Worth Years," "Summer Song"--Marilyn soon brings out in Dave a youthful excitement as he talks about the early quartet--leading Marilyn to make the comment that I had regretted for 3 decades: "You know, Dave, I always prefer to be recorded live and I have the sense you to do too. The recordings before a live audience with you and Paul simply can't be beat!" Dave's response (in essence): "How right you are, Marilyn. I always prefer recording live--even now you're coming up with voicings and melodies that I've never thought of, and they're my own songs!" He then recalls some of the Quartet's early '50s recordings, singling out his performance of "Over the Rainbow" for special mention, despite its being recorded by an amateur hobbyist on a cheap tape machine. I wasn't exactly "vindicated" (I was clearly in the wrong), but I was relieved--one less thing not to have to regret. Dave would reconvene the Quartet in 1975--the 9-year hiatus brought to an end in the face of Paul's terminal illness and Morello's failing eyesight--for one last glorious concert--again before a "live" audience in Carnegie Hall.
The foregoing is certainly not "proof" of anything on this present recording and not a recommendation for or against purchase of the album, which is one of the few by the quartet with a deliberate, thinly disguised (if not blatant) profit motive--a "sequel" to the success of the album containing "Take 5." Of course it adheres to the formulaic pattern of a successful studio album--more rather than fewer tracks, time lengths agreed upon in advance, a carefully calculated balance of fast / slow, major / minor, individual feature numbers for each member of the quartet. But on the whole the album is looser, less stiff, more fearless than most recordings done during costly studio time. Above all, it "swings" more than Dave's other studio albums. Some of the lyrical beauty of Paul's playing shines through on "Bluette," Dave exhibits some of the "bombast" that was often a signature of his live concert soloing (as an accompanist, on the other hand, he's one of the most empathetic, "quiet" pianist of all). The program makes for good background music (try "Slow and Easy") or party music (try "Bru's Boogie Woogie") or just plain serious, undistracted listening.
Most importantly, the album invites the listener to be the judge of the concerning the "studio" vs. "live" debate. The last track is a different, "live" version of the introductory "studio" tune, "It's a Raggy Waltz," except that the tempo is faster and the total time more than a complete minute longer than the earlier studio version. If you judge this final performance on the disc the better track, you're about to discover the real Brubeck and Desmond, the recordings inviting serious listening and undivided attention. Grab ahold of "Jazz Goes to College," "At Oberlin," and "Carnegie Hall 1963" (which is the source of this final, extra, live track). You're about to hear a couple of master storytellers at work, leaving nothing behind (Paul's playing on the "Blue Rondo" of "Brubeck at Carnegie Hall '63" makes the original version on "Time Out" sound anemic and incomplete).
Much looser and less self-conscious than "Time Out", "Time Further Out" finds the guys light years more comfortable with the odd time signatures they must certainly have realized (and accepted!) would become their main claim to fame, as well as with each other (Desmond was originally quite put out that Morello had demanded to be a "featured" drummer instead of a faceless time-keeper) -- and the results are obvious. This is only peripherally "intellectual" jazz; the Quartet is now expressing itself emotionally and spiritually through those odd time signatures ... it ain't just a gimmick no more, Sports Fans!
It flows, it rocks, it scales lofty peaks -- yeah, ol' ham-handed Dave is still pounding out those block chords; Paul is still smoother than silk or any other sax-man that ever lived; Gene is still running the voodoo down and Joe is still ... Joe: but the individuals have melded their sounds and their personalities, here, and the music is otherworldly, heaven-sent, and relentlessly listenable even to non-aficianados. Put it on for your girlfriend, sometime, don't make a big speech or anything, just let ot percolate through the room, and see where THAT gets you ... !
A word about Joe Morello. I'm a drummer myself, and many favorites have come and gone since I first heard him play "Take Five" on my daddy's hi-fi -- but he's the one drummer in the world I have never gotten over and never will. Buddy Rich blazes, Krupa stokes those fires down below, Max Roach'll make you think intricate interlocking thoughts; hell, even Ron Bushy (the "In-A-Gadda-Da-Vida" guy) and John Bonham and Terry Bozzio deserve the attention they recieved. The current crop of jazz meisters have chops and technique far beyond the abilities of mortal men --
But nobody -- NOBODY -- tells a story like Joe Morello. Nobody makes 'em talk like that, makes 'em sing like that, or puts you somewhere out in the jungle listening to four or five hand-drummers having an honest-to-god conversation. You know how Eric Clapton never tries to fast-talk you on guitar? That's how Morello is on drums.
Back in '61, drum construction had not yet gone all-maple-plies-and-razor-sharp-bearing-edges; the base was still the African mahogany of Krupa's day, mixed with a little poplar, and the sheer sound, the deep, mellow tone, of those drums is one reason folks will still be listening to solos from pre-1970 long after those who played them have left the planet. Morello doesn't have to hit you over the head with speed or technique -- just let the drums speak for themselves.
Seductive, mon, seductive ...