Jazz

Paul Desmond & Jim Hall - Bossa Antigua (1964/1999)

2019-06-11T11:41:41Z

Paul Desmond & Jim Hall - Bossa Antigua (1964/1999)


1 	Bossa Antigua 	4:30
2 	The Night Has A Thousand Eyes 	4:41
3 	O Gato 	4:23
4 	Samba Cantina 	5:29
5 	Curação Doloroso 	4:26
6 	A Ship Without A Sail 	6:15
7 	Aliança 	4:29
8 	The Girl From East 9th Street 	5:58
+
9 	The Night Has A Thousand Eyes (Alternate Take) 	7:18
10 	Samba Cepeda 	5:06
11 	O Gato (Alternate Take) 	4:53

Alto Saxophone, Liner Notes – Paul Desmond
Bass – Eugene Wright, Gene Cherico 
Drums – Connie Kay
Guitar – Jim Hall

It's me, Paul Desmond, rapidly aging sax player with the Brubeck Quartet, sometimes called the John P. Marquand of the alto, and again playing hookey from the mother lode with the same group of sturdy compatriots that made TAKE TEN such a joy to record. On bass is the jovial presence of Eugene Wright, without whom the entire Brubeck operation would grind to a halt in a matter of hours. On drums, the master time-keeper of the Modern Jazz Quartet, Connie Kay -- who, if he didn't exist, would be much too perfect ever to be imagined by anyone. And on guitar, the redoubtable (that means the first time you hear it you don't believe it, and when you hear it again later you still don't believe it) Jim Hall.

The term bossa antigua (it means, or at least it should, "old thing," as opposed to "new thing") began as a slightly rueful play on words because by the time I got around to doing a few bossa nova tunes on TAKE TEN it was several years after the first flash from Brazil and couldn't properly be called a new thing any more. This album carries the term a step further, in that the rhythm on several tracks is a sort of skeletal bossa nova with various old-timey flavors added. ALIANCA, for instance, has Jim Hall functioning as the only accredited Brazilian delegate, accompanied by routinely impeccable Connie Kay shtick and a nice comfortable New York 2 from Eugene Wright. A SHIP WITHOUT A SAIL and THE NIGHT HAS A THOUSAND EYES contain other variations, ranging from Early Calumet City Strip to a subliminal fraelich. (If any of you feel creative out there, you could get together some rainy night and figure out an Old Thing dance to go along.)

The tunes, except for SHIP and NIGHT, are mostly originals. O GATO was written by Jim Hall's friend Jane Herbert, and it's as charming as she is, which is saying a lot. The others are tunes I wrote. One is based on a minor adaptation of a melody indigenous to early American coffee houses, a few are extensions of themes that have been wandering through my head recently, and the one called CURACAO DOLOROSO is a sort of three-stage operation. Originally I'd wanted to do HEARTACHES, because it seemed so incongruous and because the original record of it had something of the same neolithic connection to bossa nova as early marching bands had to Gerry Mulligan. I wrote a different set of changes for it and we tried it, and it was so horrible that George Avakian emerged from the control room in the middle of the first take, waving his arms and shuddering. (This is a musical milestone of sorts, since George usually smiles serenely thru the most disastrous takes imaginable, hoping that something good will somehow happen and he'll be able to splice it in later. I think the only other time he walked out in the middle of a take, the studio was on fire.) So on a later date we used the chords and avoided the melody, which is what you're supposed to do in jazz anyhow, come to think of it, and it worked out nicely. (Since it's a different melody and a different set of chords, the writers of HEARTACHES won't be around looking for royalties -- but if they ever feel like dropping by for a drink, I'm usually home between 4 and 6.)

As always, George Avakian masterminded the entire operation effortlessly, even with a telephone more or less permanently installed in one ear. (There was one point, I must admit, when the only way I could get his attention was to go out to the phone booth and call him.) I don't know how the phone calls worked out, but I love the album. ---Paul Desmond, discogs.com

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Paul Desmond - Easy Living (1966)

2012-03-26T16:04:44Z

Paul Desmond - Easy Living (1966)


01 - When Joanna Loves Me 5:48
02 - That Old Feeling 5:49	
03 - Polka Dots And Moonbeams 5:51
04 - Here's That Rainy Day 5:43
05 - Easy Living 7:08
06 - I've Grown Accustomed To Her Face 4:19
07 - Bewitched 6:25
08 - Blues For Fun 6:28
09 - Rude Old Man 5:42
10 - Polka Dots And Moonbeams (alternate take) 6:13
11 - Bewitched (alternate take) 7:47

Personnel:
Connie Kay - Drums
Percy Heath - Bass
Eugene Wright - Bass
Gene Cherico - Bass
Paul Desmond - Alto saxophone
Jim Hall – Guitar

Easy Living indeed. Desmond recorded five or six albums in the form of a quartet with Jim Hall, and while "Take Ten" may be the classic, this one is by far the best. With this album, the quartet was (for the most part) him, Jim Hall on guitar, Connie Kay (from the Modern Jazz Quartet) on drums, and Eugene Wright, Desmond's pal from the Dave Brubeck quartet, on bass. One would be hard pressed to find a line up that sounded more comfortable playing together than this one. With this album, Desmond found the perfect match between the cool sound and songs that swing. He throws in a few moody, beautiful tracks, but for the most part has some fun with songs like "That Old Feeling," departing into long, wild (yet, in true Desmond fashion, controlled) solos. Added bonus: Eugene Wright wrote the final number on this album, a bonus track titled "Rude Old Man" and gets his much deserved time in the spotlight with some excellent (and even slightly funky) bass playing. Desmond released a few excellent albums, a few of which I even prefer to this one, but none of them were able to obtain a balance between moody and fun like this Easy Living was. --- koolkatjazz.com

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Paul Desmond - Falling In Love With Paul Desmond (2000)

2012-11-01T22:26:20Z

Paul Desmond - Falling In Love With Paul Desmond (2000)


01.	When Joanna Loved Me
02.	Body and Soul	
03.	My Funny Valentine
04.	Angel Eyes
05.	Glad to Be Unhappy
06.	I Should Care
07.	Easy Living
08.	Embarcadero
09.	All Across the City
10.	The Girl from East 9th Street	
11.	Then I'll Be Tired of You

Personnel includes: 
Paul Desmond (alto saxophone); 
Albert Richman (French horn); 
Gene Bianco, Gloria Agostini (harp); 
Jim Hall (guitar); 
Eugene Wright, Gene Cherico, Milt Hinton (bass); 
Robert Thomas (drums, percussion); 
Connie Kay (drums).

Falling in Love With Paul Desmond is part of RCA's mid-line Falling in Love With series, which focuses on romantic highlights from classic big-band, swing, and jazz artists. There aren't any risky choices on Desmond's volume, but that's fine, since each of the title's 11 cuts -- including "When Joanna Loved Me," "Body and Soul," "My Funny Valentine," "Embarcadero," and "Then I'll Be Tired of You" -- sustains a mellow, romantic mood. This record may not really be necessary, but for anyone looking for lovely, romantic music from Desmond, it's not a bad choice at all. ---Stephen Thomas Erlewine, Rovi

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Paul Desmond - Feeling Blue (1997)

2018-08-26T12:25:32Z

Paul Desmond - Feeling Blue (1997)


1 	When Joanna Loved Me 	
2 	Alone Together 	
3 	Here's That Rainy Day 	
4 	Body And Soul 	
5 	Samba D'Orpheu 	
6 	Polka Dots And Moonbeams 	
7 	Bewitched, Bothered And Bewildered 	
8 	That Old Feeling 	
9 	I've Got You Under My Skin 	
10 	I've Grown Accustomed To Her Face 	
11 	The One I Love (Belongs To Somebody Else) 	
12 	Easy Living 	
13 	Embarcadero 	
14 	All The Things You Are 	

Paul Desmond - Sax (Alto) 
Gloria Agostini - Harp
Gene Cherico - Bass 
Jim Hall - Guitar
Percy Heath - Bass 
Milt Hinton - Bass
Connie Kay - Drums 
Wendell Marshall - Bass
Gerry Mulligan - Sax (Baritone)
Romeo Penque - Woodwind 
Al Richman - French Horn 
Robert Dylan Thomas - Drums, Strings
Stan Webb - Woodwind
Eugene Wright - Bass 

Recording Date: October 2, 1961 - July 14, 1964

Jazz musicians tend to divide themselves into two groups, the rhythmic players and the melodic players. Some of course have strong elements of both in their playing. On this scale Paul Desmond is at the extreme end of the melodic sector. His ability to weave intricate melodic patterns on any chord sequence is little short of pure magic. His tone was completely different to those who had gone before him and Charlie Parker probably less influenced him, than any other top saxophone player of the 50's and 60's. This did not please all the critics of the time, but when you listen to these tracks today, you realise that he was a unique influence in jazz. ---Don Mather, musicweb-international.com

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Paul Desmond – Skylark (1973)

2013-12-17T18:09:13Z

Paul Desmond – Skylark (1973)


1.  Take Ten (Paul Desmond) 6:08
2.  Romance de Amor (Traditional) 5:21
3.  Was a Sunny Day (Paul Simon) 4:00
4.  Music for a While (Henry Purcell) 6:45
5.  Skylark (Hoagy Carmichael/Johnny Mercer) 4:52
6.  Indian Summer (Al Dubin/Victor Herbert) 9:40
7.  Music for a While (Henry Purcell) 5:56
8.  Skylark (Hoagy Carmichael/Johnny Mercer) 5:39
9.  Indian Summer (Al Dubin/Victor Herbert) 5:28

Musicians:
Paul Desmond (Alto Saxophone)
Gabor Szabo (Guitar)
Gene Bertoncini (Guitar)
Bob James (Piano and Electric Piano)
Ron Carter (Double Bass)
Jack DeJohnette (Drums)
Ralph McDonald (Percussion)
George Ricci (Cello)

Moving over to the CTI label with Creed Taylor, Paul Desmond injects a bit of the 1970s into his sound, obtaining agreeable if not totally simpatico results. Here, the cool altoist is teamed with the progressive-slanted drumming of Jack DeJohnette (who might have been too busy a drummer for his taste), and Bob James' electric and acoustic pianos, with Ron Carter as the bass anchor, Gene Bertoncini on rhythm guitar, and, most interestingly, another individualist, Gabor Szabo, on solo electric guitar. For the first and only time, even taking into account the most inspired moments of Jim Hall, Desmond is not the most interesting soloist on his own record, for it is Szabo who most consistently draws you in with his mesmerizing incantations over vamps from the rhythm section. For those who missed it the first time, Desmond remakes "Take Ten" -- without the Middle Eastern elements -- "Romance de Amor" is eventually dominated by Szabo, and the inclusion of "Was a Sunny Day" proves that Desmond's involvement with the music of Paul Simon in 1970 was not a passing infatuation. Don Sebesky is credited with the "arrangements" but his orchestrating hand is not felt except for a single solo cello (George Ricci) in an adaptation of Purcell ("Music for a While"). It's a cautious change of pace for Desmond, although the fiercer context into which he was placed doesn't really fire his imagination. ---Richard S. Ginell, Rovi

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