The track was contained in the album “Time Out” released, both in mono and stereo versions, by Columbia in 1959. What not everyone knows is that the track has been actually written by Paul Desmond, he composed the melodies on Morello's rhythms and Brubeck arranged the song. In other words, everybody knows it! It bears its name after the weird 5/4 meter, as per request of Joe Morello, the quartet's drummer. It quickly became the biggest-selling jazz single of all time and was inducted into the Grammy Hall of Fame in 1996. Grundman.The Dave Brubeck Quartet “Time Out” A “360 Sound” 1959 recording that sounds incredibly modern! Įven if you're not into jazz you surely know Dave Brubeck Quartet's “Take Five”, a track which has been widely used for jingles, ads, and covered by many artists worldwide since 1959. Perhaps its to polite.īut its the preferred sacd to own by far. Even though it sounds much fresher and more new than the previous Sony might be a little to relaxed and delicate and sweeter sounding. There are no distractions.a beautiful delicate sheen of tape hiss permeates this sacd. This new disc is a better version of how playful, happy and musical this album is. The slight and gentle tapping of the metal cymbal is extremely lifelike. Not just the skins or the bass drum but the cymbal work.just glorious. The drum sound is gorgeous in every way however. Think of Bill Evans and how awesome that bass sound is.) (If you own any Shm Sacd's.the best ones. But the bass is ever so slightly reduced in comparison to the former disc. This new disc has a nice sax sound and good textures on the piano. This new disc has better over all dynamic range but the sound stage is equal to the former sacd. This new sacd is kinder, gentler, more organic, holistic and relaxing. Bass, however was slightly better on the 1st disc. The drum sound.due to compression was both fantastically lifelike but also bombastic. The Sony disc was much louder and harder sounding. A comparison between the two is most fascinating. I own the original Sony Sacd and like a chump.I had to purchase this newest version as well. If you're reading this you just want the meat and potato description. And I wont explain it by giving a track by track description. I feel I don't need to explain away the merits of this great classic jazz album from the late 50's. Review by rflaugher Octo(5 of 5 found this review helpful) Because the disc allows space to include a multichannel program and because one already existed, we decided to include it as a bonus. We have remastered the stereo program from the original analog tapes. Please understand that our focus and interest is on making the best sounding two-channel layer possible. The Multichannel program was not remixed or remastered. Please note: For the Multichannel program of this SACD, we used the same hi-res file as was used for the previous Sony SACD release of this title. Since I only ever listen in 2 CH mode, I'll try this disc - I'll report back when I get it and compare They state they chose to concentrate on the best 2 channel experience and threw in the surround as a bonus since there was plenty of room THEIR WEBSITE CONFIRMS THAT THE 2 CHANNEL MIX is REMASTERED but the MULTICHANNEL MIX IS THE SAME AS THE SONY VERSION. Of note I **do** think Analogue Productions improved considerably on the Getz/Gilberto title and they said they worked from a different master there as well. This is not a review but a response - I agree wholeheartedly. Review by Beck Aug(4 of 10 found this review helpful) Has anyone got some comparisons to previous versions? I cannot imagine how a 50s era recording can be made to sound better. If you don't own the others I highly recommend giving this a try. But I'm glad to have the opportunity to own this one. There is some frustration expressed about the constant reissue of the same titles and there are now three or four versions of this. Loaded with subtleties, I continue to find more after several listenings. This is very accessible, pleasant, melodic jazz. Drums are particularly well rendered as evidenced by "Take Five" in which the drums have plenty of bass to them and a nice reverb decay. The sound is dynamic, and despite that there is almost no distortion from loudness of an instrument exceeding the recording capacity, which I have heard on some early recordings. Hard to believe this was recorded in the late 50s.
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