![]() ![]() As well as becoming unlikely mainstream transatlantic hits, they also cemented the link between Jazz and Modern Art, introduced a wider palette of global musical influences to an equally wide audience, and in many regards played a prominent role in setting the template for what was to come in the sixties. Of course, Take Five and its parent album Time Out have a good deal more cultural significance than washing up as the theme for a sitcom that the BBC couldn’t even be bothered commissioning whatever Ronnie Hazlehurst had lying around for might suggest. Tim’s slow-motion resigned nod behind the humdrum sitcom’s title was a sign that it was probably time to give up. Having been fairly obsessed with The Goodies while they were still a going concern, I’d followed all three through post-Goodie vehicles as diverse as Tell The Truth, Cartoon Alphabet and Fax, regardless of whether I actually enjoyed them or not, presumably in the vain hope of spotting a stray bit of speeded-up slapstick or an impromptu performance of Charles Aznovoice. There was a time when I knew it better as the theme from You Must Be The Husband, a terminally undistinguished mid-eighties sitcom starring Tim Brooke-Taylor and Diana Keen as a couple whose dynamic was suddenly dramatically shifted when she became a best-selling author overnight. As embarrassing as it is to admit, I didn’t always know Dave Brubeck’s Take Five as a pioneering jazz classic that made inventive use of an atypical key and unusual World Music-influenced time signature. ![]()
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