All Music Guide, Steve Huey

Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. It was a risky move — Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous "Take Five," Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt — it's just that they're not jarring. Brubeck's classic "Blue Rondo ŕ la Turk" blends jazz with classical form and Turkish folk rhythms, while "Take Five," despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as it's become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated — it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection.

Amazon.com, Fred Goodman

Boasting the first jazz instrumental to sell a million copies, the Paul Desmond-penned "Take Five," Time Out captures the celebrated jazz quartet at the height of both its popularity and its powers. Recorded in 1959, the album combines superb performances by pianist Brubeck, alto saxophonist Desmond, drummer Joe Morrello and bassist Gene Wright. Along with "Take Five," the album features another one of the group's signature compositions, "Blue Rondo a la Turk." Though influenced by the West Coast-cool school, Brubeck's greatest interest and contribution to jazz was the use of irregular meters in composition, which he did with great flair. Much of the band's appeal is due to Desmond, whose airy tone and fluid attack often carried the band's already strong performances to another level. Together, he and Brubeck proved one of the most potent pairings of the era.

Barnes & Noble, Steve Futterman

Not many authentic jazz albums yield hit singles: Time Out is one of them. “Take Five,” a melodic gem riding a hypnotic 5/4 rhythm composed by the group’s star saxophonist, Paul Desmond, captured the airwaves in 1959. Pianist Dave Brubeck had been popular before, but the single and album made him a bona fide jazz superstar. “Take Five” maintains its luster to this day, as do such superior performances as "Blue Rondo ŕ la Turk" and "Strange Meadowlark." Time Out exhibits both the indivisible unity of the Brubeck quartet and the outstanding individual contributions of Desmond, with his stunning “dry martini” tone, drummer Joe Morello, a technically adept master of unusual time signatures, and the leader, whose eccentric improvising remains inimitable. The opener's rhythmic novelty may have drawn initial attention to this legendary album, but the memorable tunes and outstanding playing made it a keeper. There’s a reason that this classic remains a favorite long after Brubeck’s spectacular popularity has worn off.

Dave Brubeck Quartet: Dave Brubeck (piano); Paul Desmond (alto saxophone); Eugene Wright (bass); Joe Morello (drums). Recorded at Columbia 30th Street Studios, New York, New York on June 25, July 1 & August 18, 1959. Includes liner notes by Dave Brubeck and Steve Race.

Second only to Jazz Samba by Stan Getz, as the most commercially successful jazz record of all time (it even contained a single for the pop charts, Paul Desmond's magnificent 'Take Five'), Brubeck brilliantly popularized jazz and offered it as a palatable alternative to Bobby Vee. This album sold by the trunkload and made Brubeck a popular star. Those jazz critics who shunned him for becoming too commercial must eat their words, as this is a monumental album of the finest modern jazz. 'Blue Rondo A La Turk' and 'Kathy's Waltz' demonstrate this man's graceful, nonchalant class.

HMV Belfast Forestside, Nick Heath, August 2006

Up until this albums release - Jazz had generally been the preserve of smokey downstairs joints where you only attended if you were 'in the know', or 'part of the scene'.

Then Brubeck came along with a song called Take Five. Its such a recognizeable tune that now it seems like part of the fabric of jazz and mainstream music folklore. But at the time it sent the jazz 'cats' a bit cock-a-hoop. Firstly there was this weird time signature, secondly this was seriously good jazz played by a geeky looking white guy with thick rimmed glasses! Everybody soon got over it - and into this album.

I discovered a dusty copy in my mothers record collection when i was about 11 - and naturally immediately decided i wanted a smoking jacket and sunglasses!! Of all the cd's i've bought over the years - through rock / pop /metal / dance /hip-hop etc - this is the one that i have replaced the most times. Strange Meadow Lark's almost classical intro - leads into an impossibly perfect refrain.

Paul Desmonds sax is so familiar and warm on Kathys Waltz, and the opening track of Blue Rondo A La Turk really makes you sit up and listen. Even the Joan Miro painting on the cover matches the music perfectly. Time Out is one of life's rare things - a totally mainstream, accessible jazz album, that still has great relevance - and is - ultimately - still as cool as it was on its release nearly 50years ago.

© Frank Steven Groen