Dave Brubeck's odd time signatures

I cannot exactly call myself an expert in jazz music, and I must admit that my first love is what is somewhat misleadingly called classical music. (I say misleadingly, because my favourite periods are Renaissance and, skipping over the classical era, early twentieth century.) But I’ve always had something of a penchant for the Dave Brubeck Quartet, whose heyday was in the 1950s and ’60s. In some respects Brubeck (b. 1920) can be said to bridge the gap between jazz and classical music.

What I like about him is his use of unconventional – or perhaps I should say nonwestern – time signatures, such as 5/4 and 9/8. These metres are quite familiar in Greek, Balkan and Turkish music, and they do not sound in the least unusual to my ears. But they would to most people in Brubeck’s North American audience of jazz aficionados. The most successful of these are his “Take Five,” written in 5/4 time, and “Blue Rondo a la Turk,” written in 9/8. These pieces were part of his album, “Time Out,” which was released in 1959. The first jazz instrumental to sell more than a million copies, “Take Five” was composed by his saxophonist, Paul Desmond, whose distinctive solo performance makes for a brilliant counterpoise to the otherwise asymmetrical rhythm.

Some years ago I was singing in an Episcopal church choir in the States during the Advent season, and I was delighted that the choirmaster had us sing Dave and Iola Brubeck’s “God’s Love Made Visible,” also in 5/4 time.