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Editorial Reviews
Amazon.com
Time Further Out extends upon the concepts first enunciated on the Brubeck Quartet's surprise hit Time Out, but in this case with the organizing principles involving the leader's varied compositional treatments of the blues--traditional and otherwise. Thus a darkly ruminative tune such as "Bluette" treats a fairly standard 12-bar form in a very non-standard manner, interpolating a variety of classical devices that suggest the melodic influence of Chopin and the contrapuntal devices of Bach in its treatment, with a yearning alto solo from saxophonist Paul Desmond that suggests the emotional content of a blues, without specifically referring to standard devices. As if to italicize his band's mastery of polymeter, pianist Brubeck treats the fifth, sixth, seventh, eighth, and ninth tunes in corresponding meters, to particular effect on the 7/4 hoedown of "Unsquare Dance," the 8/8 barrelhouse changes of "Bru's Boogie Woogie" and the engaging dissonances of his 9/8 mood piece "Blue Shadows in the Street." And on "Far More Drums," drummer Joe Morello displays a mastery of 5/4 metric variations and African-styled polyrhythms that was unheard of for that time, save for percussive grandmasters such as Max Roach. --Chip Stern



Brubeck truly shows his skill in this excellent album., November 12, 1998
Reviewer: A music fan
This is one of his best. "Time Further Out" just shows how good he is and how his music can be soothing and swinging at the same time. David Brubreck does it all on this album. He has his piano skills mixed with the wonders of Paul Desmond, Joe Morello, and Eugene Wright. If you want a CD with swing and rythym, this masterpiece is the one for you!



Another gem!, July 26, 1998
Reviewer: A music fan
What an accomplishment by Brubeck. The album is solid from start to finish, and again provides endless fun in following the different rhythms, meters, not to mention Brubeck's harmony, Desmond's melodicism, and Morello and Wright's improvs. "Unsquare Dance" is just great; 7/4 seems to be the most uneven of the unevens (moreso than 5/4, I think) and Brubeck is right on in his liner notes when he writes it "refuses to be squared". Also notable is the extremely upbeat and joyous "Raggy Waltz", the eerie "Bluette", and the even more exuberant "Charles Matthew Hallelujah". Great, great stuff