BLUE RONDA A LA TURK is started with a very forward feel of piano counting in three measures of 9/8, then a small build up of one measure in cressendo in 9/8, this is repeated again only with Desmond pitching in on saxophone, then it is repeated again with Morello in the backround doing an even beat with piano. These rhythms build up with each other until it leads into an interlude in a swing feel of two measures of 4/4, then one forward measure of 9/8, then two more swing measures of 4/4, then one more forward measure in 9/8, this continues until finally the band goes into a layed back interlude, almost in a blues feel, in a basic 4/4 where Desmond gets his solo for a while, until it ends and goes back into one forward measure of 9/8 and two swing measures of 4/4, this continues until Brubeck finishes with the outro of doing three triplets on the piano and then and ending note of one. Though that wasn't quite enough, so Morello does a semi-fast cressendo on the low tom at the end.
THREE TO GET READY is one of the most unique songs of this time. What it does is they do a basic intro in 3/4 on piano, Brubeck does two measures of 3/4 on piano and Morello strikes one note on the count of 2 in one measure, this goes on for about four measures and then goes into a Desmond solo, while the rest of the band plays in two measures 3/4, then two measures of 4/4, then two measures of 3/4, then two measures of 4/4. This theme goes on until Morello gets a two measure fill, time signatures change, it does two measures on piano of 3/4, then with brushes Morello does a one measure fill of 7/4. The song continues with two measures of 3/4, then two measures of 4/4 until the song ends exactly the way it had begun.
BRU'S BOOGIE WOOGIE gives an extremely exceptional idea of 60's Swing music. Though usually boogie woogie's are played a usual two measures repeated over and over on piano, instead Wright took the boogie woogie and played it on bass so that the entire song had a better swing feel by Brubeck doing a piano solo. Now, most people would actually count this song in 4/4, this song was written in 8/8 two give it more feel between bass and drums.
BOSSA NOVA is all in a basic 4/4 or Common Time feel. It begins with Morello tapping his left stick on top of his right stick while his right stick is making the intro of the song on the snare. After Morello does this for four measures, Brubeck comes in doing a very smooth rhythm on the piano until Morello gets bored of doing the same rhythm in common time on the snare and breaks into playing on the ride cymbal of the jazz rhythm, then Brubeck takes the solo for the rest of the song until Morello and Wright keep doing the same rhythms in time with each other as the outro until the song comes to a final ending.
TAKE FIVE is one of the most popular songs of the 60's. It is all based around the one time signature of a smooth feel in 5/4. Desmond has his solo just after the intro of four measures of Morello playing and the four measures of Brubeck playing his long repeated measure throughout the song; and even though Desmond wrote the song, and has his own solo in the song as he once said, "Take Five was never meant to be a hit, it was mainly meant to be a Joe Morello drum solo."
BLUE SHADOWS IN THE STREET was a very popular, though very different song of its time. Though most would count the song in just a slow, swing in 3/4, the song was actually written in doing three triplets per measure doing a nice, slow feel in 9/8. After Brubeck and Morello have their intro (Brubeck doing a basic solo on piano), soon Desmond has his solo, although it may have sounded difficult, Desmond had no trouble at all doing a solo in 9/8. This mainly continues in 9/8 the entire song until the outro where Brubeck and Morello repeat what they had done at the beginning and slowly come to the end of the song.
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