#teo macero

"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