• Rating:
As the reviewer of "Mingus Ah Um" - who, as regular readers of De-Baser would have realized, I find quite likable - said, 1959 was one of those musically invaluable years, and which could justify the absence of new record releases for a whole decade.
A significant event of that year was the sessions of the quartet led by the elegant and undoubtedly talented piano of Dave Brubeck, completed by the great alto sax of Paul Desmond, the bass of Eugene Wright, and the refined drums of Joe Morello.
The album looks great right from the cover in Kandinsky style, excellently reissued with the original notes and a piece written by Brubeck himself (a bit too self-congratulatory, to be honest, in the style - pardon the cliché - American/IinventeditandprofitfromitwhileIcan). This is the album that contains the original version of the famous "Take Five", composed by the saxophonist Desmond, and which well represents the (successful) attempt of the entire work, as suggested by the title: a collection of exercises on "difficult" and uncommon rhythms, yet able to preserve the melodicity and spontaneity of an inspired work, not contrived. The historical significance of this work is all here, and forgive me if it's not enough.
In this album, there is extensive use of 3/4 and 6/4 (today more commonly found even in rock), but it starts unexpectedly with "Blue rondo à la turk", a true carousel in 9/8 masterfully conducted with energy and finesse by the four musicians, which then slides into a slow blues in 4/4. The third track brings us the dreamy and perfect theme of "Take Five" which unfolds in a 5/4 leaving the taste of the Mona Lisa's smile, and with a long diaphanous and shadowy drum solo. Followed by "Three to get ready", that alternates two bars in 3/4 with two in 4/4. Here the solos are wonderfully soft, sinuous, and adhere to the eternally moving dance of the rhythm with quiet passion. Lastly, I mention "Kathy's waltz", a 3/4 where Brubeck delights us with a splendid solo in 4/4 while the rhythm section continues to maintain the jazz-waltz tempo. However, there are many more surprises in this album, and I leave them to those who will want to listen to it, accompanied by the reading of the excellent booklet included in the CD.
An important work and enhanced by the exceptional quality of the musicians: Desmond's sax timbre is unparalleled, never over the top, uniquely elegant, always fluid; Wright's bass pulses continuously, precise and warm; Morello's drums are present without overwhelming, delightful with brushes, akin to Jimmy Cobb's in "Kind of Blue". In a record based on rhythmic imagination and meant to be innovative, it is remarkable such lightness and humility of the musicians.
Brubeck also attempted a "sequel", which honestly I have not yet listened to, for fear of spoiling the enjoyment of this first work.
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