Brubeck had written for the Octet in unusual meters as early as 1946. The question of initial inspiration for “Take Five” aside, in a 1976 interview on Radio Canada, Desmond gave Brubeck ultimate credit for the radical idea in 1959 of recording an album of pieces in unorthodox time signatures. I hear it every day somewhere, so it was a very lucky thing. I got more comments on that darn drum solo. So, we recorded the thing in the studio at Columbia, and I think it was the first take or the second take, and Dave was playing the vamp. Morello said that in concert he used to go into 5/4 time in the drum break of a Brubeck piece called “Sounds of the Loop,” which the group recorded in 1956 in its album Jazz Impressions Of The USA.”I’d just mess around in 5, go from 5/4 to 7/4, and I guess they hadn’t heard that kind of thing before, so I kept saying, “Come on, Dave, why don’t you write something in 5/4? He never did, so Paul said one night, ‘Oh, shit, I’ll write something.’ We were rehearsing up at Dave’s house one time, and Paul came in with that. “I read that somewhere and I said, ‘Come on, Paul, no.’ It was Joe Morello who gave him that rhythm.” “Have you ever heard that?” Dave Brubeck said, laughing. He told people that he was inspired by the rhythmic sounds that slot machines make-down, back, click-click-click. His favorite version linked it with his gambling habit. Reprinted with the permission of the author copyright protected all rights reserved.Īfter “Take Five” became one of the most familiar pieces of music in the world, Desmond tired of questions about it and amused himself by concocting stories about the piece’s origins. Extract from "Take Five - The Private and Public Lifes Of Paul Desmond" ©Doug Ramsey.
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