All 45 lacquers - on both the 1959 and 1961 releases - were mastered on a Scully 501 lathe which was built in the late 1930's but tailored to 45 (and some LP) mastering in early '51 - and remained in use through summer 1966. (Lacquers cut between then and into the late 1970's for Hall Of Fame reissues were mastered on the later Scully 601.) The labels you see were from a genuine 1959 pressing, with the record edges on each side at an angle (looking like < on the left and > on the right if you look at it flat, as per the way Bridgeport pressed singles between c.1955-56 and 1960; 1961 pressings' edges looked like [ ] ). On 1961 pressings, the matrix number on the label was considerably closer to the catalogue number than on here.
Have to agree 100% with Bob's statement re vinyl vs. CD. I've given up trying to explain to non-believers how '50s and '60s recordings nearly always sound "flat" on CD. I had this on an early sixties LP - deep groove/valve technology blah blah - and it sounded wonderful compared with later thin vinyl LP versions and the CD which I now have. Anyway, enuff ranting. A Brubeck discog at http://www.jazzdisco.org/dave-brubeck/discography/ shows only one recording of "Take Five" (not including the later session with Carmen McRae) on July i 1959, matrix CO62578. So either the various versions are edits, or perhaps there were a number of takes (five?). Maybe those of you who have this on 45 (no use checking LPs) could see if any of the numbers in the dead wax give an indication of a take number.
Joe's solo on the LP version is the perfect demonstration of vinyl's superiority, when you're trying to prove the point to doubters.
The CD versions all sound anaemic compared to the speaker-challenging boom you hear when he crashes that kick drum.
If I may add my sixpence worth, like the rest of you I have heard this track a hundred times. I have listened very carefully to this version and I have to say it seems to accord with Boursin's earlier quotation regarding some of Morello's drum solo being removed to fit the desired single length.
I always recall the admiration at the time - and hereafter - for the tricky time pattern, which the contributor to this YT link describes thus, which helped me to understand more clearly, at least:
"5/4 jazz. Let me explain. Its a basic 4/4 swing pattern with an added quarter note on the 5th note. Doo daht daht doo DAHT. As opposed to doo daht daht doo, in a basic 4/4 swing chart."
BTW, BJ, I smiled broadly at your 'trigonometry' comment re 'modern'. I feel the same, however philistine it may be. I usually joke: "OK, guys. You've tuned up ... now whatta ya' gonna play us??"
You're probably right... I just listened to both versions, and I think I can hear some quite subtle differences if I listen extremely closely. I have listened to each version at least 100 times over the years, and I never noticed them until now!
The official release date may have been 22 May, but the 45 was only first mentioned in the Billboard as receiving airplay anywhere on 26 June. So it took a month or so to get to a start commercially upon reissue. Still not July, but close enough to be understandable for a writer without access to the company files.
I've heard Morello's drum solo on the LP version, and it sounded quite different from what I heard on the 45. Moreover, the way the sax was played at the start also differed somewhat. Naturally, I prefer the 45 version.
Also, Finnis' account of the release timeline of the 45 is way off from what was clearly indicated in Sony Music's files.
......Then again Brubeck and Guiraldi aproached jazz with a "Pop" sensibility..(recurrent themes, easy on the ear with sort of a verse, chorus, middle-eight, verse, chorus approach)....The more "modern' (Davis and beyond) fractured style of jazz hurts my brain.....it's like listening to trigonometry ....John
"An edited single of 'Take Five'/'Blue Rondo à la Turk', the brainchild of CBS Records president Goddard Lieberson, was the first jazz instrumental to sell a million copies."
- Len Lyons, The 101 Best Jazz Albums: A History of Jazz on Records (1980)
"In July 1961, some two years after the release of Time Out, Columbia released a truncated version of 'Take Five' as a single. Ironically, in view of the fact that 'Take Five' had been conceived as a vehicle for Joe Morello's drums, most of Morello's much-admired one minute drum solo was edited out, leaving just a few bars of mild soloing intact."
- Rob Finnis, notes to The Golden Age of American Popular Music: The Jazz Hits CD (2008)