Maybe on the next tune I’d forget and be playing some wild harmonic things. For instance he’d say to me – “Dave, quit playing in three keys at once”. Paul would often say things through his horn to me by playing the melody of another tune. We depended on each other so much and listened to other so much. So It starts as Kathy jumping around the room in 4/4 and then goes into a waltz which is Kathy’s Waltz. Kathy’s Waltz was named after my daughter Catherine who was always dancing and dancing really funny steps. I know that no one else was even bothered and it would be stupid of me to complain to the manager that this was probably driving his waiters and waitresses crazy but they don’t why. All three of those I could hear at the same time. I was once eating in a restaurant where there was a radio in the kitchen, a typical jukebox and then some kind of piped in music into the restaurant proper. A play on words because the first two bars are in three. I remember when we went to India that the Indian musicians really thought that Joe Morello was the first great western drummer that that they had ever heard. And he could play so many complicated things. Joe was such a different type of drummer in those days. I don’t know whether I’m putting it in my mind or whether you can hear it in the drums or the cymbals. Not just the rhythm but I can almost hear the melody itself. And I would try to put a steady rhythm against this exotic crazy rhythm of the gasoline pump.Įverybody’s Jumpin has a drum solo where Joe Morello plays the melody of the tune on his various drums. They weren’t steady like the horses beat. There was a gasoline engine and it had craziest rhythms I had ever heard. I’m always paying attention like so many musicians to the sounds around them, that other people don’t hear. And I said, “Someday I am going to use that in a piece”. I remember one night it was blowing a diminished fifth all night long and it was really loud. Strange Meadow Lark was really my imitation of the Meadow Lark I remember in Northern California. Wherever I go, sometimes its crickets, the sound of the water in the stream outside. But you are very aware of sound, of rhythms, of just the wonderful noises of the world. Some of us are musicians some of us are something else.
Other people can be scientists I’m missing everything that they are aware of. I should have just called it "Blue Rondo" because the title confused people.Īs musicians we are so aware of what other people aren’t aware of. So I said, I’m going to use this rhythm in a tune and I will call it "Blue Rondo A La Turk". We all grew up improvising in that rhythm”. June 8th said “That to us is like the blues to you. His name was June 8th he was born on June 8th so that was his name. The rhythm fascinated me so much there was one Turkish musician, I remember his name. We were doing odd things.īlue Rondo A La Turk was a street rhythm that I heard street musicians playing in Istanbul. Eugene Wright would think “How I am going to hold this together”.Īs a leader you gotta be part psychiatrist and get your ideas over in a rather delicate way. Paul was always sceptical of any new move he didn’t get excited about doing things in different time signatures. When I brought up the idea with my quartet of doing this experimental album, Joe Morello was so pleased that he would be able to do more compound times playing in different time signatures. That was kind of the start of the way I thought about rhythm.
TAKE FIVE CLEVELAND HOW TO
I could hear how to put a different beat against that. If you’re alone and just riding miles and miles with just nothing but you and your horse and the horse going along at a steady gait, I would start thinking of rhythms that I could hear from the horse’s hooves. Well, I wanted to do an experimental album using time signatures that weren’t usual in Jazz. This interview was subsequently included in the Columbia Legacy 50th Anniversary edition of Time out released in 2009. The most definitive version Dave gave was in an interview to Columbia Records at his home in Wilton on September 12, 2003. The origins of Time Out & Take Five - Dave Brubeckĭave gave thousands of interviews over his long career and invariably since 1959 he was asked about one the biggest selling jazz albums of all time, Time Out and also the first jazz single to sell a million copies, Take Five.
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