- This Six-Eye Stereo pressing boasts out of this world Demo Disc Sound – Time Out captures the ambience and huge space of Columbia’s studio like no other record has (with a little reverb thrown in for good measure)
- A knockout pressing of Brubeck’s astonishingly well recorded Jazz Classic, a record that belongs in every audiophile’s collection
- Early stereo LPs in clean condition like this one are getting awfully tough to find nowadays…
- “Buoyed by a hit single in 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.”
- If you’re a fan of Brubeck and company, this 1959 album belongs in your collection, along with quite a few others from the classic jazz era
- The complete list of titles from 1959 that we’ve reviewed to date can be found here.
Spacious and transparent, this copy has the big three-dimensional soundstage that makes this record such a joy to listen to. The piano has weight and heft, the drums are big and dynamic, and everything is relaxed and sweet — in short, this copy is doing pretty much everything we want a top quality Time Out to do.
Listen to the drums on “Everybody’s Jumpin'”. This album was recorded on a big sound stage and there is a HUGE room which can clearly be heard surrounding the drum kit. Add to that that some of the drums are in the left channel and some of the drums are in the right channel and you have one big drum kit — exactly the way it was intended to sound.
Early pressings of this album are now very tough to find in clean condition and they do not come cheap. If you want to hear “Take Five” and the other great songs here in stunning Demo Disc quality, you won’t want to miss out on this copy — it will likely be a while before we find another one with grades this high and vinyl this clean.
What the Best Sides of Time Out Have to Offer Is Not Hard to Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1959
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we’ve heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
What We’re Listening For on Time Out
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.
A Must Own Jazz Record
We consider this Dave Brubeck album a Masterpiece.
It’s a recording that should be part of any serious Jazz Collection. Others that belong in that category can be found here.
Blue Rondo A La Turk
Strange Meadow Lark
Three To Get Ready
Pick Up Sticks
AMG 5 Star Rave Review
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 à 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 its 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.
Fred Plaut and the Legendary CBS Studios
CBS 30th Street Studio, also known as Columbia 30th Street Studio, and nicknamed “The Church”, was an American recording studio operated by Columbia Records from 1949 to 1981 located at 207 East 30th Street, between Second and Third Avenues in Manhattan, New York City.
It was considered by some in the music industry to be the best sounding room in its time and others consider it to have been the greatest recording studio in history. A large number of recordings were made there in all genres, including Miles Davis’ Kind of Blue (1959), Leonard Bernstein’s West Side Story (Original Broadway Cast recording, 1957), Percy Faith’s Theme from A Summer Place (1960), and Pink Floyd’s The Wall (1979).
Having been a church for many years, it had been abandoned and empty for sometime, and in 1949 it was transformed into a recording studio by Columbia Records.
“There was one big room, and no other place in which to record”, wrote John Marks in an article in Stereophile magazine in 2002.
The recording studio had 100 foot high ceilings, a 100 foot floorspace for the recording area, and the control room was on the second floor being only 8 by 14 feet. Later, the control room was moved down to the ground floor.
“It was huge and the room sound was incredible,” recalls Jim Reeves, a sound technician who had worked in it. “I was inspired,” he continues “by the fact that, aside from the artistry, how clean the audio system was.”
Many celebrated musical artists from all genres of music used the 30th Street Studio for some of their most famous recordings.
Bach: The Goldberg Variations, the 1955 debut album of the Canadian classical pianist Glenn Gould, was recorded in the 30th Street Studio. It was an interpretation of Johann Sebastian Bach’s Goldberg Variations (BWV 988), the work launched Gould’s career as a renowned international pianist, and became one of the most well-known piano recordings. On May 29, 1981, a second version of the Goldberg Variations by Glenn Gould was recorded in this studio, and would be the last production by the famous studio.
Jazz trumpeter Miles Davis recorded almost exclusively at the 30th Street Studio during his years under contract to Columbia, including his album Kind of Blue (1959). Other noteworthy jazz musicians having recorded in this place: Duke Ellington, Dizzy Gillespie, Thelonious Monk, Dave Brubeck.
In 1964, Bob Dylan and record producer Tom Wilson were experimenting with their own fusion of rock and folk music. The first unsuccessful test involved overdubbing a “Fats Domino early rock & roll thing” over Dylan’s earlier, recording of “House of the Rising Sun”, using non-electric instruments, according to Wilson. This took place in the Columbia 30th Street Studio in December 1964. It was quickly discarded, though Wilson would more famously use the same technique of overdubbing an electric backing track to an existing acoustic recording with Simon & Garfunkel’s “The Sound of Silence”.
Fred Plaut, Engineer Extraordinaire
Frederick “Fred” Plaut was a recording engineer and amateur photographer. He was employed by Columbia Records during the 1940s, 1950s, and 1960s, eventually becoming the label’s chief engineer.
Plaut engineered sessions for what would result in many of Columbia’s famous albums, including the original cast recordings of South Pacific, My Fair Lady, and West Side Story, jazz LPs Kind of Blue and Sketches of Spain by Miles Davis, Time Out by Dave Brubeck, Mingus Ah Um and Mingus Dynasty by Charles Mingus.