The world of jazz is vast and varied, but some songs transcend genre boundaries to become instantly recognizable classics. Among these, the Take Five song by the Dave Brubeck Quartet stands out, not only for its catchy melody but also for its groundbreaking use of an unusual time signature. As we delve into this iconic piece, we’ll uncover what makes it a cornerstone of cool jazz and a lasting influence on music.
What Makes Take Five So Cool? A Dive into a Jazz Masterpiece
Born in the post-World War II era, cool jazz emerged as a counterpoint to the energetic bebop style. It favored a more relaxed and melodic approach, incorporating elements of classical music and world rhythms. While Miles Davis is often credited as a pioneer, it was the Take Five song released in 1959 on the album Time Out that became a commercial breakthrough, achieving mainstream success and selling over a million copies as a single – a remarkable feat for an instrumental jazz piece.
Composed by saxophonist Paul Desmond and performed by the Dave Brubeck Quartet, Take Five is immediately identifiable by its distinctive 5/4 time signature. This unconventional rhythmic structure, meaning there are five beats per bar instead of the typical four, gives the song its signature groove. For many aspiring musicians learning about odd time signatures, Take Five serves as a quintessential example, alongside the Mission: Impossible theme. Its popularity helped to introduce and normalize 5/4 time in popular music, paving the way for other artists to explore quintuple meter.
But the appeal of the Take Five song goes beyond its rhythmic innovation. It’s the overall feel – the “cool” in cool jazz – that captivates listeners. The tempo is a steady 170 bpm in Eb minor, creating a mellow and sophisticated atmosphere. The interplay between the instruments, the memorable saxophone melody, and the subtle dynamics all contribute to its enduring charm.
To appreciate the magic behind Take Five, let’s break down its components. Examining the original recording session can offer insights into the sonic landscape crafted by the quartet.
Dave Brubeck Quartet Take Five Recording Session
A glimpse into the recording session of the iconic Take Five song, showcasing the Dave Brubeck Quartet in action.
Deconstructing the Take Five Song Structure
Take Five follows a repeating 24-bar ABA structure, interspersed with solos. Think of the A section as the verse and the B section as the chorus, creating a familiar song form within the jazz idiom.
Intro (12 bars): The song opens with Max Roach’s drums establishing the 5/4 swing groove. The light touch on the snare and prominent ride cymbal suggest a traditional grip, common in jazz drumming. After four bars, Dave Brubeck’s piano enters with detached chords, positioned to the right in the stereo mix. Joe Morello’s double bass joins in the last two bars, smoothly transitioning into the A section. This gradual layering of instruments in the intro acts as an effective build-up to the main theme.
The microphone placement in the recording session photo hints at the sonic characteristics. The drum mic, seemingly placed a few feet in front of the kit at chest height, likely contributes to the defined ride cymbal sound. The piano mic, positioned near the edge of the open lid, approximately three feet from the strings, probably captures a balanced tone, essential for the mellow jazz piano sound. Given the recording techniques of the era, it’s plausible that the hard panning of drums and piano, along with instrumental spill, contributes to the stereo image and cohesion of the mix.
A Section (Verse): The piano and double bass maintain a two-chord vamp, cycling through a simple and repetitive I-V (Ebm7 – Bbm7) progression. Over this harmonic foundation, Paul Desmond’s alto saxophone plays the unforgettable main melody. Harmonically, the saxophone melody is modal, centered on the Eb Dorian mode. The Dorian mode, similar to a natural minor scale but with a raised 6th, imparts a characteristically smooth and “cool” tonal color – a quintessential element of the cool jazz sound.
Eb Dorian Mode for Take Five Song Analysis
The Eb Dorian mode, illustrating the scale that contributes to the distinctive “cool” jazz sound of the Take Five song.
The recording emphasizes the mechanical sounds of the saxophone and bass, suggesting close microphone placement. You can hear the breathy nuances of the sax and the percussive attack of the double bass strings, both positioned centrally in the mix.
B Section (Chorus): The harmonic center shifts to the relative major key of Gb major, following a IV-V IIIm-VIm IIm-V7 VII-I7 progression. This movement between relative minor and major keys is a common technique in jazz to create emotional contrast (think of classics like “Autumn Leaves” or “Summertime”).
The saxophone melody in the B section moves to a higher register and features a repetitive, descending riff that leads back to the A section vamp, creating a cyclical feel.
Saxophone Solo: Paul Desmond’s saxophone solo maintains a smoky timbre, drawing upon elements of the Eb Dorian mode, minor pentatonic, and blues scales. Interestingly, on the final note of the solo, there’s a noticeable dip in the overall instrumentation, which might indicate a sudden muting of the saxophone mic, highlighting the amount of microphone bleed present in the recording.
Drum Solo: Max Roach’s drum solo is dynamically varied and builds in intensity. Again, the hard panning of drums to the left and piano to the right is evident in this section.
Coda: The song concludes with a two-bar melodic phrase repeated by the band, a common jazz ending technique known as “tagging.”
The Enduring Legacy of Take Five
The Take Five song is more than just a catchy tune; it’s a cultural touchstone. Its innovative use of 5/4 time, combined with its cool and sophisticated sound, cemented its place in music history. It continues to inspire musicians and captivate listeners decades after its release, proving the timeless appeal of the Dave Brubeck Quartet’s masterpiece.
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