Disquiet Junto Project 0540: 5ive 4our

This post popped up at disquiet.com/0540 (thank you, powers of automation) shortly after 12:10am Pacific Time on May 5, and then at twitter.com/disquiet a little further along. The email containing those instructions went out via tinyletter.com/disquiet-junto later in the morning (after I woke up), and then I posted them here and at post.lurk.org/@disquiet.

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Deadline: This project’s deadline is the end of the day Monday, May 9, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 5, 2022.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0540: 5ive 4our

The Assignment: Take back 5/4 for Jedi time masters Dave Brubeck and Paul Desmond

Step 1: The day before this project began was May 4, which has been claimed by a fantasy from a galaxy far far away. Prepare to reclaim the day for the late jazz pianist Dave Brubeck and saxophonist Paul Desmond.

Step 2: Now, in honor of Dave Brubeck’s classic recording of the Paul Desmond composition “Take Five,” record something original in 5/4 time.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0540” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0540” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your track in the following discussion thread at llllllll.co:

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0540-5ive-4our/

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #DisquietJunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to marc@disquiet.com for Slack inclusion.

Note: Please post one track for this weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, May 9, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 5, 2022.

Length: The length is up to you.

Title/Tag: When posting your tracks, please include “disquiet0540” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 540th weekly Disquiet Junto project – 5ive 4our (The Assignment: Take back 5/4 for Jedi time masters Dave Brubeck and Paul Desmond) – at: https://disquiet.com/0540/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0540-5ive-4our/


The project is now live.

1 Like

I went for spontenaity and liveness here: specifically, live_code_ness. Which means that the project performance makes more sense if you watch it on YouTube, rather than listening on SoundCloud.

The track is kind of a rehearsal towards a collaborative project that I’m working on together with the Glasgow Gamelan Group Naga Mas and two Indonesian artists, Peni Candra Rini and Rangga Purnama Aji. ‘Floating Gold’ Floating Gold – A collaboration leverages the MiniTidal language in Estuary to enable synchronous improvisation between musicians in Scotland and Java.

Not sure what else to say about this! Questions welcome :slight_smile:


It’s raining outside all day long and for this challenge I used images of ocean and rain as inspiration.

I’m not a piano player by any means but this time I decided to record a piano piece, staying true to the original record. I listened to it a few times and sat down to improvise.

It all started with a 4-bar loop in a lower register that I liked. I softened it a bit, looped it and started jamming along to come up with new parts: high staccato notes, arpeggiated phrases and a few improvised melodic lines. And then I arranged the material so that the parts fit together and there’s a certain dynamics to it that I liked.

Finally I mixed in a layer of waves crushing on the shore to communicate the image I had in mind when working on this piece.


Hey All,
I hope this is 5/4. That is what Ableton told me after I changed the 4 to a 5 and went from there. The beat came first. Then bass and keyboards. The lyrics are just a short section from a Jesus Christ Superstar song that google told me was in 5/4 time.
Hope all are well.

Peace, Hugh


“FiveFourTenSixteen In Low” by Freedom From Polio

Between the clouds and the wind, he thought he might have seen her face…

Posthumously dedicated to Alissa Kolenovic, who died on 5/4/22 after being struck by a delivery truck driver in Morris Park, Bronx, NYC.

Recorded, mixed & mastered 05 May 2022 & 25 Jul 2018 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2022 Jim Lemanowicz

Process notes -

Audiobus 3 - generative improv recorded on 05 May 2022 on an iPad mini 4 in the backyard

  • Using about 3 min of the 11:29 improv, mainly in 10/16
  • Fugue machine
  • Rozeta cells and LFO
  • Axon 2
  • Aparillo
  • AudioShare to record audio
  • One stereo track as exported from iOS, loaded into Ableton Live 11

Approx 1.5 mins of saxophone recorded with iPhone in my bathroom on 25 Jul 2018, named “sex in the bathroom.”

  • loaded as two additional tracks in Live
  • one sliced to MIDI in 5/4
  • one raw audio track, cut into 3 segments and stretched
  • Native Live devices & GSnap64 applied to sax tracks only

Mastered using Ozone Elements twice, I chose the first master

Art - captured 21 Feb 2022 with a Kodak Brownie Bullet in the backyard, where the iPad recording above was later made.


Mornin’ everybody. Glad to pay a little tribute to that amazing album by Dave Brubeck and Paul Desmond, the first instrumental jazz album I heard when I was a kid (actually the only jazz album besides Sinatra and N K Cole in my house).

I’ve been working on this duet album with fellow Argentinian Minino Garay, he plays all percussions I play the rest. Is all based on odd or uneven time signatures (a nod to Brubeck’s Time Out…)
I just delivered first mixes earlier this week, so it’s really fresh.

This particular track is the only one I dropped from the final cut (didn’t even mix it) cause it’s too much on the “Take Five” beat/groove. We did other more original tracks on 5/4.

So I decided to rough mix the first minute of this track to share here, completelly unfinished, just as a tribute to those great jazz masters, and because the percussion and drumkit tracks sound awesome!
(I didn’t record that on my studio, it was done on a large studio by one of those maniac sound engineers that records a drum kit on 24 separate tracks, you know?). It sounds great, raw (unprocessed) as you hear in this snippet.

Love, dd


I like that: the drums work as a shout-out to the marvellous solo by Joe Morello on the original album – gotta be my favourite drum solo of all time!


hello everyone, i hope you are all well

happy to have time for this week’s junto.

improvised guitar into ableton, with lots of return tracks and even more manually editing (i have to hide my mistakes somehow!!)

all the best,



4/5 and piano (and some “noise”). Used samples from freesound: zippi1 - metronome (sound nr 18244), tim-kahn - piano (sound nr 106876) and nordlichtvagabond - noise… (sound nr 253070). Until next time I have to clean up my soundcloud…


5/4 drum track with various synth mods (ludicrous, phasers) marking hyperspace acceleration, robot chatter, while paying homage to Brubek for ‘Take Five’ and to Bonham’s homage to Brubek with ‘Four Sticks’


I started with purely rhythmic elements to get into the groove, and then added this and that, and then threw things out, and so on, without a plan.

There was a very different first version, but I couldn’t decide on it, and at the end this second version felt just more rounded and ambient-tracky.


Thank you Marc! This was tough and exposed my weaknesses as a musician. I realized that I rarely do anything other than 4/4 and 3/4. I abandoned one attempt and started over with a different set of tools. What helped me nail the beat down was to use Step Clips in Waveform 12 and start by modeling the kick drum after Take Five. For melody, I generated MIDI with Waveform’s pattern generator and manually edited it to force it into 5/4. The key is A# minor, the same as Take Five. Variations of this MIDI pattern trigger three synths (all from Arturia Analog Lab V Intro). I wanted to convey the clear sense of 5/4 and then obscure it a bit. So it starts simple and toward the end, I introduce more complex rhythmic patterns and have one synth deviate from 5/4. I was also going to do 174 bpm like in Take Five but it was too fast so I went with 155. I probably would have done a nicer track if I choose a slower bpm and wrote a piano melody instead. But here it is…


I loaded up Logic and set the project to 5/4 time. I think I can count the times I’ve strayed from 4/4 on one hand and still have enough fingers to hold a pint so I’m out of my comfort zone. I set up a beat in patterning to give me a metronome to guide the pulse of the piece. I used a nifty sequencer, Ooda, to send a pattern of notes to soft versions of Plaits and Elements. Ooda is a lot of fun, I’m still trying to understand it’s intricacies but you get an immediate buzz from being able to derive complexity from simple elements.


@gis_sweden amusing use of metronome there, like :slight_smile:


And the playlist is rolling. Thanks, everyone.


Hey All, I tried something else in 5/4 time. I left a little one minute drum and bass breakdown if anyone wanted to take a solo on it. It is about one minute long but you can solo as long as you want. It is 102 BPM. Key doesn’t matter it can be noise, your grandma on bongos -whatever. You can send just the stem of your solo and I will combine them all into one epic track. If no one submits I will be forced to scat over it and no body wants that to happen.
This was just an idea I had thought it might be fun.

Peace, Hugh


I love Dave Brubeck, but I’m a terrible jazz musician :laughing: so here is my take on 5/4 - generative drums meets doom guitar.

Another interest of mine has been working out to have a ‘band in a box’ with Ableton - where I could ‘play’ with a generative track that doesn’t sound totally mechanical. Think I’m getting there!



Cheesy Five

Made with NI Maschine+.