I'll keep this short and sweet!!! This album is an all time jazz classic!!! This is a great reissue,with awesome remastered sound!!! An essential addition to any serious music collection!!! Timeless!!! Recommended!!! A+

This is in response to the one star reviewer 'Ivan' who decided to use 5 or 6 feeble lines to vent his personal disgust of the Brubeck Quartet in a primitive, offensive manner as if it had any merit outside his own lack of true discernment and taste by calling them less than 'worthless' and 'liquid sugar.'

First of all, you did not offer any valid or even sensible reasons for your 'opinion' and no coherent argument for hating and taking a dump on one of the most well-liked and highly-regarded jazz groups of all time. All you managed to blab out was that it's 'sugary' or 'liquid sugar.' Well, compared to what? The amount of sweetness someone wants in their coffee or music is a personal taste and some take no sugar at all but there certainly is a general area most people agree on that constitutes too much sweetness, is there not? And what's nauseating 'sweetness' in music then? Too much melody of an obvious, non-refined, non-sophisticated, predictable and cliched kind that's not counterbalanced by other elements within the same composition?

Well, having listened to the music of most of the jazz players of that era and beyond many, many times over the last 25 years, I'd say that the Brubeck Quartet with Desmond is definitely melodic and sweet but rarely exceeding one or one-&-a-half teaspoons of sugar which, furthermore, is always one of many ingredients in a nutritious, gourmet dish of full-bodied flavor and never there simply to make 'liquid sugar' or candy bars or even fancy gourmet pastry or dessert.

Now, less than two teaspoons of sugar, maybe that's still way too much for Mr. Jack-Daniels-in-his-Black-Coffee Wiccan Ivanhoe lumberjack-Outdoorsman over there but for most people it's a pleasant sweetness. When the Brubeck Quartet exceeds two-teaspoons and becomes too 'sugary' it's usually on a standard and not on the Brubeck or Desmond original compositions which all of 'Time-Out' happens to consist of. Desmond is definitely deliberately and tastefully melodic, sometimes a little too much so but he's also a virtuoso, a master musician who can play anything but rarely chooses to show off, whose number one priority is to be at all times, come hell-or-high-water, the KING of laid-back understatement, the master of cool, no matter what tempo or complicated meter he's soloing over (for an even better demonstration than the superb solos on "Time Out" people should check out his mind-blowing zen-master laid-back solo on the volcanically propelled odd-meter tune Eleven-Four on The Brubeck Live At Carnegie Hall album). No one understates like Desmond and that balances out and more than makes up for the occasional over-indulgence in melody or 'sweetness' that still rarely exceeds two teaspoons. Stan Getz is often much sweeter on his bossa nova albums but because the bossa tunes are much more melancholy and downbeat, the bitterness balances out the sweet to make an artful statement.

Desmond is also always balanced out by the deliberately percussive and polyrhythmic approach of Brubeck who has one of the greatest rhythm sections in jazz in Morello and Wright to work against. Just the complexity of compositions alone and the masterful improvisations within that structure should be enough for anyone who understands how difficult it is to play with such control and tightness and telepathic interplay and stay 'cool' despite it all to be in awe of this group. Trying to pigeon-hole and dismiss the Brubeck Quartet as nothing but 'liquid sugar' is lke saying Renoir wasn't a great artist or less of an artist than Picasso because he didn't paint unhappy subjects.

Alas, there is a problem, a certain deep cynicism people have been conditioned with that has nothing to do with true musical merit but which makes them dislike bands like Brubeck or Pat Metheny, whose very popularity fuels the fire against them. The thing that some people tend to confuse with too much 'sweetness' and hold against the Brubeck Quartet is that they are UPBEAT and NON-CYNICAL and cynicism and a certain down-beat, depressed, fed-up-with-it-all attitude seem to be the ultimate requirement of jazz-music to those people. Less immediately hummable melody does tend to go with those other states but so what? Since when was it a requirement for your cynicism to show in your art for it to be considered worthy? So, yes, if you want cynicism and misanthropy and depression being wallowed in and overcome, sometimes magnificently so, definitely go elsewhere but if you want music that is happily transcendent and soaring just for the sake of soaring, flying like a bird, not ignoring but rising above all negativity and floating, then the Brubeck Quartet is the ULTIMATE band for that.

And did I mention that they are the EPITOME or ultimate musical expression of what it really means to be an American at its best, or what the real American personality is like or at least used to be like at its best? Yes, the very American vibe exemplified by famous personalities like James Garner, Jimmy Stewart, John Wayne, Cary Grant, Bill Cosby, Andy Griffith, Rosalind Russell, Clark Gable, Myrna Loy, Carole Lombarde, Jack Lemmon, Bob Newhart, Henry Fonda, Peter Fonda, Steve McQueen, George Clooney, Diane Keaton, even Jack Nicholson. Generally friendly, non-cynical, forward-looking, kind and forgiving with ample reserves and not worrying too much about ending up anybody's fool. I know, you're going to say that that breed is now extinct but why should America-at-its-best be extinct or considered a naive state of being while America-at-its-worst is being trumpeted out every media outlet of the propaganda ministry bought-and-paid-for by the already entrenched fascist state? (Most of my reviews include ruminations about the connections of art and politics, so if you don't think that politics and art are connected you should stop reading now). Yes, make no mistake about it, the Brubeck Quartet is the key to Americans re-discovering the best in themselves, hence its undying popularity. And it was for this very quality that the US State Department hired them and cynically used them to do "goodwill" tours of places as far-off as Turkey, Pakistan, India, even Afghanistan, Iran and Iraq while other agencies of the same government were busy supporting their installed dictators and such. I'm sure the Brubeck Quartet themselves saw nothing but the positive in being 'ambassadors' of art and I'm certainly not implying they were blind. So, my question to myself was: where did the non-hypocritical, honest aspects of all that in-retrospect 'hypocritical' goodwill go? Wherever it went in day-to-day-life, the genie's in the bottle on Brubeck albums. All it takes is one spin of "Time Out" or "Brubeck Live At Carnegie Hall" for it all to come back, in peak symbolic manifestation, radiant and untarnished by untempered actions and psychotic irrationality, heralding not hypocricy and a veil for charlatans and double-dealers but honest-to-goodness, actual Americans of goodwill, the Thomas Jeffersons, Henry David Thoreaus, Ron Pauls, Jeff Renses, Michael Riveros and Alex Joneses of the world, people you can trust with your life. The Brubeck Quartet is one of those groups you can trust with your life and even with your children's life because they will be there forever as transcendent testament to the America that was.

Take Five is an amazing CD by one of the master quartets of jazz. The music seems as fresh and new today as it did when it was first recorded
-- lilting, clever, intricate, and yet utterly right in every note. If you like jazz at all, you must listen to this album. It is delicious!

My piano instructor recommended this CD to me. I decided to pick it up, and presto a day later a review is jumping from my fingers. This album is considered a classic Jazz album by many and I can hear why. Odd time signatures, solid play, and quality compositions. That being said I can't rate this CD 5 stars. I just can't put this recording in the same catagory as Miles Davis "Kind Of Blue." Don't get me wrong!!! I'm glad I own it, and it will get many plays in my CD player and I-POD. However, I just can't put it on par with some of the other Jazz CD's I've come across in times past.

I actually enjoyed the entire CD. However, my favorite compositions on here are: Blue Rondo, and Strange Meadow Lark. I just find that my ear happens to enjoy the rhythmic and melodic content in those two compositions over the others. This CD sounds before it's time (1959 originally recorded), but music has come a long way since.

Bottom Line: I really enjoyed this CD, it's worth having, but there are other jazz artists I like more.

The music itself is very good, but not great I would have liked more sax, horns. (This is coming from a Steely Dan fanatic) However, for a recording that is nearly 50 years old, the sound is fantastic, most people couldn't tell the age. My main comment is that the SACD surround mix is TOO subtle. I thought my player wasn't working. I have yet to compare the CD version to the SACD version. Maybe the SACD version is better, but I was hoping for a better surround mix such as Avalon.

There's no doubt this album is important, but that's not why you should listen to it. This album's exotic rhythms are one of a kind, and they are put to good use. Rather, the reason you should listen to this is the great music, that was made using cool rhythms. The Rhythm backs everything, and everything can follow suite. Therefore, cool melodies could only be strung together if they were in that rhythm with the particular time signature backing it up. It shows that yes, it's okay to know different music techniques.

While the music theory freaks would easily eat that up, this is where Time Out retains it's deserving praise as a good album: You don't have to have to know a lick about anything related to the technical parts of music to enjoy this. It has it's melodicous center, and it will stay with you because the time signatures made music that still makes you want to stay with this album, even if you don't know how it's done. You don't know either, because technical factors are not the main reason you should listen to music. So Time Out will stay a well known album and find new audiences in all camps of music listeners and music dissectors, alike.

There's not a single bad song, although I do find plenty of parts (in particular, toward the end) that make me loose interest. But that's not bad at all, as some of these songs on here more than likely do great, and
Take Five is on here! There's no substitute for this song, with it's drum solo, cool rhythm, the cool sax solo, Paul Desmond is great. There's the opener, with it's pounding piano intro, totally chill parts after, and the piano pounding yet again. Three To Get Ready is another masterpiece. It's jazzy piano and trading lines of the instruments, with it's swinging groove. Strange Mellow Lark is cool and even a bit romantic. Pick Up Sticks has some akward piano playing with a cool beat. Kathy's Waltz isn't as good, but it's got a good intro, and Everybody's Jumpin' is my least favorite, though it stands on it's own greatly. Really, not a single poor song. Just not some of the greatest music I've ever heard, but still great stuff.

Okay, so it didn't do much for me as it did for others (which is why it got the score), but still, get it. Jazz veterans and newbies can't go wrong with giving this a listen. And come on, Take Five owns!

7.5/10

It goes without saying, I think, that it is fair to call this album "over-rated", if only because so many jazz critics have said that it is one of the albums any collection must have. Having heard the Brubeck quartet play live on several occasions back in the old days, it is difficult to shake the bliss felt on those occasions from the somewhat bland and detached air felt on this recording.

However, who will ever get tired of listening to Desmond's sublime "Take Five"? Or, for that matter, "Blue Rondo a la Turk".

The music has been extensively analyzed by other reviewers and I choose to come at it simply from the viewpoint of the album's ability, time and again, to give pure listening pleasure.

This is, as most other reviewers have already mentioned, a classic. It represents a brilliant fusion of jazz, blues and northern european classical music, while also exploring numerous difficult time signatures. Released in 1959, this album was certainly cutting edge in terms of its ambitious aspirations. It still sounds fresh. Dave Brubeck's classical training shines through, while Paul Desmond's sweet saxophone tone complements Dave's playing brilliantly. This album was a jumping off point, and the quartet's time experiments continued over the next handful of years, with "Time Further Out", "Time Changes", "Countdown: Time In Outer Space", and "Time In", all of which are also exceptional albums. A fantastic album that serves as a great starting point for those experiencing Brubeck, or jazz for that matter, for the first time.

Although I'm not what I consider to be a great fan of jazz, I have enjoyed Dave Brubeck's music for quite some time. For the last two and a half years or so, I have bought almost only high resolution music (DVD-A or SACD), and was determined to buy this disc soon. For a short while, several years ago, I owned the standard CD version of this album - until I donated it to my father-in-law. For anyone reading this reveiw, I can confirm that there is little comparison possible between the CD version of this album, and this SACD version. Please note; this is an SACD, and not an SACD hybrid. This means that a dedicated SACD player is required for playback, unlike the hybrid SACDs where at least the CD layer can be accessed with a standard CD player. If you have an SACD player, and a half-decent set of speakers, I can't imagine how anyone would fail to be impressed. The clarity of the recording, and it's 3-dimensionalism is amazing. It is really like having someone play in your living room. For those interested, this disc offers a stereo and a 5.1 audio option, and comes packaged in a "standard CD" jewel case - unlike many SACDs which come in so-called "Super Jewel Boxes". My universal disc player is set to default to multi-channel playback wherever possible on SACDs or DVD-A, and I have therefore not listened to this disc in stereo. The multi-channel mix though is very subtle, and most of the sound comes from the front speakers, leaving the rear speakers to help create a surround effect. This works perfectly well on this disc, and I coudn't imagine how it would work any other way.

If you like Dave Brubeck and have an HD audio player, go out an buy this album. If you don't yet own an HD audio player, go out and buy one! It's high time that the standard CD hurried up and died, and made way for music only on the hi-res formats such as SACD or DVD-A!

I finally broke down and picked up this CD to replace my two vinyl LPs (monaural and stereo). Whether due to age, dust, a fading cartridge and stylus, I was getting distortion from Joe Morello's cymbals. So I've received this latest deluxe version trumpeting its advanced technology and audio--but where are the cymbals? And on a recording where time and percussion deserve top billing! The first thing noticeable on the opening track is the near-inaudibility of the ride cymbal (it becomes louder by the end of the track).

In short, this is not the greatest transcription--not even close. Desmond's alto is full, silky, and very present, and the bass, as usual on recordings these days, is certainly adequate (thankfully not over-cranked). The piano sound, on the other hand, is "cramped and narrow," lacking the rich Steinway sonorities of the vinyl original. And even as I've got my treble control turned all the way up, Morello's percussion--brush work and especially cymbals--is simply weak and distant in the mix. Shame on the Sony-Columbia engineers (especially after their glorious transcription of "Duke Ellington at Newport 1956"--perhaps the best-ever transfer of a vinyl recording to digital).

Besides the introduction of unconventional time signatures to jazz, "Time Out" was the beginning of the Brubeck Quartet's many studio albums. All you have to do is go back to some of their earlier, "live" concert dates on Fantasy and Columbia to realize that "Time Out" is actually a relatively "conservative," uninspired recording, as is true of most of the Brubeck studio sessions. (As for those reviewers who call this the best Brubeck recording or, for that matter, best jazz recording of all time, I almost envy them: imagine their ecstatic response when they get around to listening to "Kind of Blue.")

It seems so long ago for me that I "discovered" the Dave Brubeck Quartet. Yet the artistry and melodies still weave a compelling magic. The experiments with time signatures coupled with the impeccable playing of all the members of the quartet create a timeless [ no pun intended] masterpiece of Jazz. The lyrical piano of Brubeck is complemented with the sauve tones and improvisations of Paul Desmond. The chord progressions and melody development reveal a symbiotic "cool'. this is briliantly supported by Joe Merello, who takes the expiments to another realm as the lynch pin for the next album - Time Further Out. Merello is supported ably by Eugene Wright on Bass. It is hard to believe that this was recorded in 1959, the melodies, their improvisations and the experimentation is still fresh and up lifting.

Progressive jazz isn't a term you hear a lot, but it's exactly how I'd characterize this. Every song does something odd with time; "Blue Rondo a la Turk" switches from 9/8 to common time; "Strange Meadow Lark" has unusual ten-bar phrases (most are in increments of four); "Take Five" is appropriately in 5/4 (and has a mind-bending sax solo from Paul Desmond); "Three to Get Ready" switches between 3 and 4 every two bars; "Everybody's Jumpin'" and "Pick Up Sticks" are both in 6/4. Only "Kathy's Waltz", oddly in common time, is the exception. To further the progressive feel, "Everybody's Jumpin'" is in an atonal key. Thankfully, Brubeck isn't just some weirdo who can mess with time - he can also write a solid melody (the eccentric "Blue Rondo"; meditative "Strange Meadow Lark"; pseudo-classical "Three to Get Ready"), and has quite a band behind him, most notably Paul Desmond, who wrote the album's most memorable number, "Take Five". The album loses a bit of steam at the end, but never really lets up - all jazz fans should have a copy of this one.

I bought the original vinyl back in '60 and I think I played it until the grooves went flat. This re-issue is as wonderful as I remembered. No jazz collection is complete without this classic.

This is a great album. I have a friend who wore out his vinyl version of this. There's some great stuff here, and if you are a huge fan of the quarteet, then I recommend this. However, I think the Carnegie Hall concert recording is superior - so if you are only going to get one DB CD, get that one instead. On this CD, the quartet is still just getting used to the unusual time signatures, whereas by the time they get to Carnegie Hall, 9/8, 11/4, 5/4, whatever, it's in their DNA and it shows.

There is nothing wrong with this album. How often do we get to say that? My list includes Bing Crosby's old Christmas album, the Beatles SERGEANT PEPPER'S LONELY HEARTS CLUB BAND the (original) AMERICAN GRAFFITI soundtrack -- and not much more.

Ironically, Dave Brubeck did not expect "Take Five" to be a hit; he described his intention of it being just a good chance for his partner to wail on the drums. But the American public back in 1959 (not just jazz aficionados and other longhair types) made a hit of it and thus TIME OUT has achieved immortality in the intervening 48 years.

But there is so much more! Swing to the happy rhythms of "Blue Rondo A La Turk," the barely-reined-in enthusiasm in "Kathy's Song," and many more. This album does nothing by half. I do hope the original liner notes are included; I think they are and they offer fascinating glimpses into a musician's mind, from the naming of the song (sometimes before its creation, sometimes after), and how the song evolved -- remember this is jazz, and partly unscripted, no matter how polished the final result sounds.

Buy one TIME OUT for yourself and another for a teenager. If s/he doesn't like it, someone among acquaintances will! - a. s.

It seems like just yesterday....

I was fourteen years old and I couldn't sleep. I walked into the den and turned on our 14" RCA color television. Imagine...I had to turn it on by hand...I flopped on the rust colored couch and lucky for me the channel was already on channel 4. Johnny Carson was on. Oh, my God, I was a HUGE Johnny Carson fan.

Who was on tonight?

To be honest with you, I forgot the other guests he had on that evening but I do remember that the Dave Brubeck quartet was on. Now you have to understand that I was only fourteen and at that age you really don't know your [...] from a hole in the ground. Fortunately, enough for me I grew up around a lot of music so I at least had developed a tolerance for other kinds of music besides those groups I favored; Led Zeppelin, Neil Young and Crazy Horse, Buffalo Springfield, etc.

Well, anyway, Johnny introduced them and said they were going to take the show out with the classic, 'Take Five'. Okay, how many of you have ever heard a piece of music for the first time and KNEW that it wasn't just a piece of music, but it was actually a piece of your soul?

That night changed me. It transformed me. It renewed me. It baptized me in jazz' Holy Waters and I have never ever been the same. That next day I couldn't think of anything but getting my hands on a record by Dave Brubeck so when the final bell rang at school, I was literally on the path to Mecca. I walked from school to the nearest record store undeterred in my focus to return home with a Dave Brubeck album.

I got home late that evening...like around 5PM or so...my dad bellowed out, "Where have you been, young man?" No response. I just had to get the cellophane off that record and play it on the Realistic Stero that was next to the television of destiny. My dad followed me into the room. "John, I said where have you-------"

The music kicked in.

"Oh", my dad's attitude immediately shifted, "Dave Brubeck. I like him." And we sat there, my dad with a glass of wine in his hand and me with an A&W Rootbeer in our sage green Lazy-Boy recliners listening to some of the greatest music I had ever heard. It was something we could do as father and son. My dad wasn't athletic so we never really tossed around a football or baseball and he wasn't really mechanical so we never worked on household projects together, he was intellectual, an English Professor and his idea of fun was conjugating verbs, but somehow this music infected/affected both of us. It kind of acted as an "emotional glue" that held our relationship in place even when it was on shakey ground.

I want to say that this music is incredible...and it is...but what's even more incredible is how open and receptive I was to it; how I let it change my life without any kind of resistance or force, but with a kind of "Prodigal Son" embracing. You see, it was always there...waiting for me...and when I finally turned around to notice it, it came rushing to greet me, loving me, and giving me everything it had to offer.

I love this music. I love my dad. I love this life.

Peace & Blessings, everyone...
john "the Light Coach"

I heard this album back when it was released, I remember hearing it played in my second grade classroom. The nun apparently liked jazz and this album has stuck in my mind since the late 50's, especially "Take Five". I never heard anything like it before but then, I was only 7 years old. I love this album and was happy to see it re mastered.

This is the perfect introductory album to jazz for anyone that is interested in the genre. It's also a perfect album for the long time lovers of jazz everywhere. The songs are timeless and the album was so experimental at the time that it completely changed the face of jazz. A wonderful piece of art with it's unique time signatures and expression. Very, very highly recommended!

I remember liking this Dave Brubeck Quartet album when I was 7 years old back in 1959 when my father bought it (on vinyl). But it wasn't so much for the music as it was for the album cover art which I thought was great (and still do). Several years later, I purchased a poster of the Time Out album cover and put it up on a wall in my room until mom made me take it down. I guess it might have ruined the wallpaper. As time went on, this musical masterpiece began to grow on me despite my non-stop playing of Beatle records and Rock 'N' Roll records in general.

Anyway, almost 50 years later, I rediscovered Time Out again on Amazon.com and bought it, but on SACD. When I loaded the CD into the player, I could not believe my ears. The music was better than ever. Time Out is one of those albums that will never grow old. It's as alive and fresh today as it was in 1959. It continues to stand the test of time and will forever remain an American classic. If you're looking to expand your musical palate, look no further than to Time Out. It is a brillant piece of music.

released in 1959 this album was originally intended as an experiment using time signatures which break out the beats in a bar of music which was unorthodox for jazz at that time. This experimental album turned out one of the best known and biggest selling jazz albums of all time. Dave Brubeck on piano, Paul Desmond on alto sax, Eugen Wright on double bass and Joe Morello on drums. The venerable classic TAKE FIVE is on the album and everyone seems to have their own take and memories of that song. A jazz classic, give it a listen, you won't regret it.

This is a reissue of the 1959 studio session. Although Blue Rondo and Take Five are the signature pieces for the Quartet, the other tracks are in keeping with the innovative time signatures 5/4, 6/4 and variations of 4/4 and 3/4 time. What else can you say except it's a classic and belongs in evryone's collection.

This Cd is just GREAT and such a Jazz classic! The re-mastered version of this Album is absolutely wonderful---sounding so crisp and sharp!

The songs speak for themselves, as they are some of Brubeck's most famous hits.

This is a highly recommended re-mastered version of Dave's TIME OUT Album!

This album changed the rules in jazz in two important ways. First, it introduced atypical time signatures to jazz performers. Performers were pushing ever other musical limit, including harmony (Miles Davis, Bill Evans, . . .), melody (John Coletrane, Eric Dolphy, . . .) and song structure in general (Ornette Coleman, Cecil Taylor, . . .). 4/4 and 3/4 time signatures were already optional in contemporary classical music and some ethic music. Brubeck opened up this fertile opportunity for the jazz world (and later rock like Led Zeppelin, Jethro Tull and Rush). Perhaps more remarkable was the fact that this album proved that the public was receptive to this new approach to popular music. Brubeck went pioneering and returned with no lethal arrows in him.

The best part about this album is that this new technique was not just a novelty; it was a path to creating timeless compositions like Take Five and Blue Turk a la Rondo. My favorite things about Brubeck are his range of expression (from cool and understated to highly muscular), and the unique voice of Paul Desmond's saxophone. Desmond's instrument has the bird-like sweetness of Charlie Parker combined with the lazer-focused tone of John Coletrane. The alternating solo voices really injects life and breath into the group.

The use of different time signatures did not did not get embraced as widely as one might expect in a genre built on creativity. Some felt that odd time signatures did not "swing" (although Brubeck and others disproved that), some may not have felt comfortable with or inspired by this new approach, and I suspect that the distinctiveness of this contribution by a white man made it "uncool" among many jazz musicians to do something that sounded "like Brubeck". The happy side effect for Brubeck is that this album stands out in jazz like few other works.

A clear jazz master piece......remastered by Sony....better than the originaland better than todays Brubeck Quartet

Sony/Columbia did this superb sounding disc very well in this SACD transfer! This rivals the original edition Lp for lovely sound, and I think it is among the best single layer SACD's out there (Mingus ah um is THE best to these ears!). You know (or should know) the music, so don't hesitate getting it on SACD! I should add I am not into 5.1 for music. My sound review refers only to 2 channel stereo sound.

I just absolutely love this CD The song Time Out is one of my favorites.

Great, great recording ! I had this on the original LP record and wore it out years ago. "Take Five" is perhaps the best known work, but the rest of this CD shines with stellar performances by Dave Brubeck, Paul Desmond, Eugene Wright (bass) and Joe Morello (drums). Brubeck's percussive piano dovetails perfectly with Desmond's beautiful and expressive alto sax. Wonderful and wild. It jumps.
This is a timeless modern classic- it sounds like it was made yesterday.

Awesome classic Jazz. I have listened to this music a hundred times since I bought it. It's hard to get enough.

This album was purchased to replace our vinyl LP so that I could rip it for my IPOD. It's as good as it ever was. Absolutely wonderful! Be careful not to buy the SAMC version unless you have the proper CD player!
I had never heard of the SAMC player until I accidently bought the wrong album. Amazon was great about the return. Nice people to do buisness with.

The first time I heard "Take Five" by Dave Brubeck Quartet from the album "Time Out," it rocked my ears and this remarkable jazz tune never left me since then. It's always so enjoyable listening to this Paul Desmond composition, one of the best-ever jazz pieces recorded. Thanks to the exceptional musicianship of Dave Brubeck Quartet composed of Paul Desmond on alto sax, Joe Morrello on drums, Eugene Wright on bass, and Dave Brubeck on piano.

Even if this is the one and only track that I care about in this CD, I would still give it a five-star-rating or even more and I can't put a price on this classic of an album. "Take Five" alone is priceless!

Dave Brubeck's Time Out is a great classic whose appeal has stood and will continue to stand the test of time. I'm not a jazz afficionado or hep cat, but I dig all the tunes from this 1959 release, just as I already did those of Miles Davis' all-time classic from the same year, Kind of Blue.

In my opinion, Time Out and Kind of Blue are the essential jazz releases. You can build your jazz collection to complement them, but you cannot truly add anything in terms of quality.

Time Out is a most pleasant work for those who have had a stressful day. A mellow yet upbeat pace is prevalent throughout, as was well commercialized and publicized in the million-selling single off the album, Take Five.

A few years ago, I reviewed Elvis Presley's Back in Memphis as one very soulful and relaxing CD. On a parallel note, I can assure you that Time Out is unequivocally a very soothing and jazzy contribution to the world of music.

If you want to build your jazz collection from the start, this must be one of your first cd's, along with Miles' Kind Of Blue. It's instantly accessible, for those whoe are jazz-phobic, however, it stands the test of sonic-time, as it still sounds fresh almost 50 years later.

I know this album very well since I have the original which was released in the early 60s, but I don't want to play it and accelerate it's deterioration. In my current state of techno ignorance, however, I did not realize this format (SACD) was not compatible with my CD player. I will definitely buy the correct format CD of this album since it is a unique and classic example of that era's jazz and an overall wonderful performance by an outstanding artist.

This is a jazz standard that should be in every collection.

There are the songs you know that are very good of course, but the ones you don't know are equally as good if not better.

Dave Brubeck was in Houston for a concert last night, and we were listening to this album on the way there. A classic album, a classic artist. Though there was no Paul Desmond at the concert, it was fantastic to finally get to hear Dave in person.

It's hard to pick a favorite tune from this album, as they are all wonderful to listen to. "Take Five", the main hit from this album, sounds great on this remastered version, and it sounded amazing as his 85 year old hands tickled the ivories at the concert. Bobby Militello filled in well and amply for Paul Desmond on sax at the performance, by the way.

In addition to "Take Five" and "Blue Rondo A La Turk", I also enjoy "Kathy's Waltz" and "Everybody's Jumpin'", with the Sax lead opening and Dave's piano answering, and the following exchange and counter point.

Also, if you have not heard any of Dave Brubeck's choral arrangements, I would highly recommend them. They were played last night with the Dave Brubeck quartet, the Houston Chamber Choir and a brass section. Simply amazing. You can find them on his albums "The Gates of Justice" and "To Hope".