Blue Rondo à la Turkīlue Rondo à la Turk plunges straight into the most jazz-remote time signature, 9/8 - grouped not in the usual from (3-3-3) but in 2-2-2-3. Brubeck even uses, in the first number, a Turkish folk rhythm. Basically it shows the blending of three cultures: the formalism of classical Western music, the freedom of jazz improvisation, and the often complex pulse of African folk music. The outcome of his experiments is this album. But Dave has gone further, finding still more exotic time signatures, and even laying one rhythm in counterpoint over another. True, some musicians before him experimented with jazz in waltz time, notably Benny Carter and Max Roach. Born within earshot of the street parade, and with the stirring songs of the Civil War still echoing through the South, jazz music was bounded by the left-right, left-right of marching feet.ĭave Brubeck, pioneer already in so many other fields, is really the first to explore the uncharted seas of compound time. Yet rhythmically, jazz has not progressed. Duke Ellington gave it structure, and a wide palette of colors. Bird, Diz and Monk broadened its harmonic horizon. Men like Coleman Hawkins brought a new chromaticism to jazz.
TAKE FIVE TIME SIGNATURE FREE
The New Orleans pioneers soon broke free of the tyranny imposed by the easy brass key of B-flat.
Should some cool-minded Martian come to earth and check on the state of our music, he might play through 10,000 jazz records before he found one that wasn't in common 4/4 time.Ĭonsidering the emancipation of jazz in other ways, this is a sobering thought. Steve Race's Original 1959 LP Liner Notes (Copyright Columbia Records)
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