Here’s one simple and kind of dumb thought I had about jazz one time: ‘If music was a circle, then jazz would be the point where that circle starts and ends’. Mathematically circles don’t have beginnings or ends though, so, was I thinking of popular music history as if someone was drawing a circle and it ‘started’ in jazz and is going to, eventually, end there? Who. The hell. Knows. It was probably a kind of analogy to say that there’s going to be a point in music history that we’re going to be as far apart as we can get from jazz (are we there already?), but it doesn’t make any sense.

So, why bring it up? Well, to make emphasis in the fact that I, a person whose journey into jazz is still short, was trying to put in ‘inspiring’ words how important and relevant the genre is. In any case, let me tell you something: jazz is a pinnacle in popular music, despite that it technically was never completely a part of it, and nowadays is as far from the mainstream as it can get.

For me, discovering jazz started in Time Out, The Dave Brubeck Quartet’s best-selling and best-known album, and probably their best, period. Today, it turns 60 years old.

Dave Brubeck was a pianist that used his amazing talent to create sweet and melodious jazz songs. He was considered to be one of the best exponents of what is known as cool jazz. He and his classic quartet, bassist Eugene Wright, drummer Joe Morello and saxophonist Paul Desmond, are regarded as one of the best jazz groups in history and together they made a string of classic jazz albums, both live and in-studio. In Time Out the quartet effortlessly swings through the tracks with Brubeck leading the melodies with precision. The album famously uses three different time signatures not commonly used in popular jazz, one of the traits that elevate it to greatness, along with a mind-numbing ability to play so cohesively that the band made it sound easy.

Time Out is probably one of the best and most popular entries into jazz. It’s easy on the ears, but its definitely not a simple album. The use of uncommon time signatures is riveting and adds plenty to the whole experience, starting with opener ‘Blue Rondo a la Turk’. A song inspired by turkish folk music, that starts at 9/8, the initial piano starts with a steady repetitve bass and drum beat. Then transitions into stacatto beats of all the instruments involved accompanied by Brubeck’s piano fills. The piano and saxophone solos return the song to a common 4/4 time measurement. The change of pace keeps the song moving and the solos are pure jazz excellence. At the end it returns to the 9/8 signature and closes the song superbly.

That song is followed by ‘Strange Meadow Lark’ a simple 4/4 ballad that has a beautiful melody courtesy of Desmond’s gentle playing. The piano intro, that doesn’t quite settles into a rhythm before the whole band enters, is so good that I have as a goal to learn how to play it. For the rest of the song the band delights with a perfectly arranged cool jazz vibe. ‘Three To Get Ready’ starts at 3/4 and settles into 4/4 for the rest of the track. Brubeck plays an excellent solo at the middle. In ‘Kathy’s Waltz’, the quartet starts a slow ballad just to change the rhythm halfway and finish in a more mid-tempo nature. The change is almost impercetible with the exception of Morello’s accurate drumming. Both ‘Everybody’s Jumpin’ and ‘Pick Up Sticks’ are driven by a steady 6/4, with both Brubeck’s piano and Desmond’s saxophone intertwining at every corner. The songs showcase a penchant for melody over rhythm and that is more evident in the way Eugene Wright’s base is always going along, following every scale and tone, being not just an accompaniment but a piece of this four-way puzzle.

In addition to this strong collection of jazz songs, the album, at track number 3, presents one of the best singles in the genre, ‘Take Five’. This was the only song on the album not written by Dave Brubeck, a credit that goes to Paul Desmond. The whole song is written in the 5/4 time signature and features a solo by drummer Joe Morello. Brubeck’s piano is repetitive and steady throughout, distancing itself from the protagonism the instrument takes in the rest of the album. Same for Wright’s base, it only serves as a firm push to the song’s rhythm and tempo. And yet, ‘Take Five’ is marvelous. Anchored by its unforgettable melody, it became a hit and one of the most recognizable jazz standards and it even wasn’t supposed to be a standout on the album. I’d even dare to say is a perfect jazz song. It is endearing and engaging; the drum solo, while modest to the genre standards, is an opportunity for Morello to show an expert’s technique; and finally Paul Desmond’s saxophone delivery is impeccable. It’s difficult not to say that ‘Take Five’ is the best recording by The Dave Brubeck Quartet.

So, 60 years later does Time Out lives to its reputation? In my opinion, it does. Taking in account that a few years before this anniversary I was marveled by it. It was the first jazz album I bought physically (along with Miles Davis’ Kind of Blue, which turned 60 this year too) and I will always cherish it for being my intoduction to one of music’s vast worlds. Listening to The Dave Brubeck Quartet’s greatest album only scratches the surface of jazz, but is a rewarding experience all the same.

Yes, popular music is obviously not a perfect circle, but this album sure gets close.