#teo macero

[nedison]

M u l t i c h a n n e l Miles!

[garadinervi]

Modern Jazz Festival, (handbill), YMHA Kaufman Auditorium, New York, NY, April 23, 1954 [Recordmecca]

Composer's Workshop, featuring Charles Mingus, Teo Macero, Art Farmer, Kenny Clarke, Eddie Bert and Hall Overton, and Thelonious Monk

[essential-music]

Dave Brubeck's "Take Five": A Timeless Jazz Masterpiece That Redefines Musical Brilliance

"Take Five" by The Dave Brubeck Quartet stands as a defiant testament to innovation and artistry. Released in 1959 on the groundbreaking album Time Out, this instrumental jazz classic, composed by alto saxophonist Paul Desmond, is not just a song but a cultural artifact that continues to captivate listeners. Its quality—rooted in its daring composition, masterful performance, and pristine production—demands recognition as one of the finest musical achievements of the 20th century.

"Take Five" is a rebellion against convention. Its 5/4 time signature, a rhythmic structure splitting into a hypnotic 3+2 quarter-note pulse, was a bold departure from the standard 4/4 or 3/4 rhythms dominating jazz and popular music in the late 1950s. Inspired by African and Eurasian folk rhythms encountered during the Quartet’s 1958 global tour, this choice was revolutionary, making the complex feel effortless. The melody, crafted by Desmond, is deceptively simple yet unforgettable, built on the blues scale with a ternary form that balances two contrasting themes. Its two-chord vamp anchors the piece, allowing the rhythm and melody to shine—a minimalist stroke of genius that proves less can be more. This blend of jazz with classical influences, a nod to Brubeck’s studies under Darius Milhaud, elevates "Take Five" into the realm of "third stream" music, merging intellectual depth with visceral groove.

The Quartet’s performance is nothing short of sublime. Desmond’s alto saxophone leads with a soft, lyrical tone, navigating the 5/4 meter with such fluidity that the odd rhythm feels instinctive. His improvisations are restrained yet expressive, embodying the cool jazz ethos. Drummer Joe Morello, often undercelebrated, delivers a masterclass in subtlety and power. His cross-stick and ride cymbal create a pulsating groove, while his iconic solo—melodic, precise, and devoid of flash—redefines what a drum solo can be. Dave Brubeck’s piano provides harmonic and rhythmic support, his block chords and understated solo complementing Desmond’s lead. Bassist Eugene Wright, the unsung hero, locks in with Morello, ensuring the 5/4 pulse never falters. Together, the Quartet achieves a rare synergy, each member amplifying the others without overpowering the collective sound.

The production, recorded at CBS’s 30th Street Studio under producer Teo Macero and engineer Fred Plaut, is a technical marvel. Using Columbia’s 360 Sound technique, the stereo mix captures every nuance, from Desmond’s delicate saxophone to Morello’s dynamic drum bursts. The clarity and dynamic range remain impressive even by today’s standards, though the distinct stereo placement—drums left, piano right, saxophone center—may quirk some modern ears. Still its sonic excellence makes "Take Five" a favorite for audiophiles, a track that reveals new details with every listen.

"Take Five" is more than a technical triumph; it’s a cultural juggernaut. As the best-selling jazz single ever, reaching #25 on the Billboard Hot 100 in 1961 and selling over two million copies by 1967, it bridged jazz and mainstream audiences, a feat few instrumentals achieve. Its influence ripples through progressive rock, with artists like Keith Emerson citing Brubeck’s odd meters, and across genres via covers from reggae to vocal scat. Its presence in films like Mighty Aphrodite, TV shows like The West Wing, and even video games underscores its versatility. Inducted into the Grammy Hall of Fame in 1996, "Take Five" remains a jazz standard, its sheet music studied for its rhythmic ingenuity.

Critics may point to its harmonic simplicity or the initial resistance to its 5/4 meter—some purists, like members of the Modern Jazz Quartet, once deemed odd time signatures unjazzlike. Others might quibble with the stereo mix’s peculiarities. But these critiques pale against the piece’s achievements. The simplicity of the vamp is deliberate, spotlighting rhythmic innovation, and the recording challenges (over 20 takes) only highlight the Quartet’s dedication. African music scholar Willis James defended Brubeck’s experimentation, and history has vindicated it.

"Take Five" remains as fresh as ever, its balance of novelty and familiarity captivating new generations. It’s a reminder that true artistry doesn’t need to shout to be heard. This is not just a song; it’s a masterwork that challenges, delights, and endures. Let’s take five minutes to celebrate its brilliance—then play it again.

Year: 1959

Composer: Paul Desmond

Producer: Teo Macero

Take Five - Wikipedia

The Story Of Dave Brubeck's 'Take Five'

Recorded by the legendary Dave Brubeck Quartet, "Take Five" remains the biggest-selling jazz single of all time, and its familiar melody has

[doomandgloomfromthetomb]

Teo's Bag: Constructing Bitches Brew

I'd be remiss if I didn't point you in the direction of Jeremy "The Heat Warps" Erwin's recent celebration of Bitches Brew, which came right around the time of that epochal album's 55th anniversary. Bitches Brew remains an endlessly fascinating piece of work; the hours of mostly unreleased session tapes and outtakes highlighted in the piece are a total delight, both de-mystifying and re-mystifying these superfreaky sounds.

"In creating Bitches Brew, Miles and Macero expanded this approach in both scope and abstraction," Jeremy writes. "A three day studio session in August of 1969 provided the source material: compositions were suggestions; tunes were performed largely in fragments; grooves were looped, re-imagined and approached from different angles; jams never drifted, but distilled and reduced for maximum potency. Miles’ instructions were few, and according to those who were in the room, mostly wordless. Pure alchemy." 

[jazzdailyblog]

"Miles Smiles:" The Quintet's Exploration into New Jazz Territories

Introduction: Released in 1967, “Miles Smiles” is widely regarded as a landmark recording by Miles Davis and his Second Great Quintet, featuring saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. This album marked the quintet’s evolution into more experimental and abstract forms of jazz, blending traditional post-bop elements with avant-garde…

"Miles Smiles:" The Quintet's Exploration into New Jazz Territories

[musicollage]

Miles Davis — Sorcerer. 1967 : Columbia.

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[jt1674]

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[mitjalovse]

Should these records that make their players noticeable again after a long time be held under a different standard then? Miles Davis, for instance, still did his own thing, though he wasn't sure what the latter was on The Man With The Horn. True, he did define himself better on his consequent 80's records, delegating his comeback to a warm-up. Then again, him doing that does make sense, he was semi-retired before the LP and jazz is like a sport, i.e. one needs to train to be better. Moreover, the band he found for the disc did serve him well – one of the greatest qualities by Davis was locating the best collaborators –, but I think they were in awe of him, which results in the already mentioned warm up tone of the platter. Still, aren't many released after the hiatuses like that?