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| From the Hot Afternoon |
| Paul Desmond |
első megjelenés éve: 1969
58 perc |
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| (2000)
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CD |
| 3.796 Ft
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| 1. | Outubro (October)
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| 2. | Gira Girou (Round and Round)
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| 3. | Faithful Brother (Irm&
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| 4. | To Say Goodbye
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| 5. | From the Hot Afternoon
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| 6. | Circles
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| 7. | Martha & Romao
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| 8. | Catavento
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| 9. | Canto Latino (Latin Chant)
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| 10. | Crystal Illusions
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| 11. | Gira Girou [Alternate Take] (Round and Round)
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| 12. | Faithful Brother [Alternate Take] (Irmáo de Fé)
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| 13. | From the Hot Afternoon [Alternate Take]
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| 14. | Catavento [Alternate Take]
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| 15. | Canto Latino (Latin Chant)
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| 16. | From the Hot Afternoon [Alternate Take]
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Jazz / Cool
Recorded: Jun 24, 1969-Aug 14, 1969, Van Gelder Recording Studio, Englewood Cliffs, New Jersey
Paul Desmond (alto saxophone)
Edu Lobo (vocals, guitar); Wanda De Sah (vocals); Phil Bodner, George Marge (saxophone, clarinet, oboe); Marky Markowitz, Marvin Stamm (trumpet, flugelhorn); Paul Faulise (bass trombone); Jimmy Buffington (French horn); Stan Webb Jr. (flute, alto flute, percussion); Don Hammond, Hubert Laws (flute, alto flute); Patrick Rebillot (acoustic & electric piano); Dorio Ferreira (guitar); Ron Carter (bass); Airto Moreira (drums, percussion)
Paul Desmond's first genuine all-Brazilian album under the Creed Taylor signature was a beauty, a collection of songs by the then-moderately known Edu Lobo and the emerging giant Milton Nascimento, then only in his early twenties. All Desmond has to do is sit back and ride the Brazilian grooves while lyrically ruminating on whatever pops into his head. It sounds so effortless -- until you try it yourself. The swirling, often gorgeous orchestral arrangements are by Don Sebesky (one CD edition mistakenly gives Claus Ogermann credit on the cover), Airto Moreira leads the samba-flavored percussion forces, and Lobo and his wife Wanda de Sah appear on three of Lobo's four songs. Lobo's "To Say Goodbye," "Circles," and "Martha and Romao" have exactly the brand of wistful sadness that Desmond could communicate so well; on the former, de Sah has to sing well below the register with which she is comfortable, and the strain is painfully obvious. Some of Nascimento's best early tunes are here, including the tense title track, the popping "Catavento," and "Canto Latino." "Catavento" inspires a particularly inventive solo from Desmond where he pulls out one of his age-old tricks, quoting "St. Thomas." The recent Verve By Request edition adds no less than six alternate takes to the package.
---Richard S. Ginell, AMG
Includes liner notes by Gene Lees.
Paul Desmond
Active Decades: '40s, '50s, '60s and '70s
Born: Nov 25, 1924 in San Francisco, CA
Died: May 30, 1977 in New York, NY
Genre: Jazz
Styles: Ballads, Cool, Mainstream Jazz
Paul Desmond is widely recognized for his genius as a melodic improviser and as the benchmark of cool jazz sax players. His warm, elegant tone was one that he admittedly tried to make sound like a dry martini. He and Art Pepper were virtually the only alto players of their generation not directly influenced by Charlie Parker. Desmond was influenced by Lester Young, but took it further, into melodic and harmonic worlds never before traveled by reedmen -- especially in the upper registers. Desmond is best known for his years with the Dave Brubeck Quartet (1959-1967) and his infamous composition "Take Five." He met Brubeck in the late '40s and played with his Octet. The Quartet formed toward the end of 1950 and took final shape with Eugene Wright and Joe Morello a few years later. Jazz at Oberlin and Take Five were considered essential purchases by college students of the era, but Jazz Impressions of Japan was its most innovative recording. Desmond played his loping, slow, ordered, and intricate solos in direct contrast to the pianist's obsession with large chords, creating a myriad of textures for melodic and rhythmic counterpoint unlike any heard in jazz. His witty quotations from musicals, classical pieces, and folk songs were also a watermark of his artistry. When the Quartet split in 1967, Desmond began an intermittent yet satisfying recording career. It included dates with Gerry Mulligan for Verve, various sessions with Jim Hall, and a concert with the the Modern Jazz Quartet. He played his last gigs with the Brubeck Quartet at reunions before dying of lung cancer. Desmond's recordings for RCA have gotten box-set treatment and Mosaic issued one of the complete sessions with Hall. There are also reissues from A&M and CTI, though recordings on Artist House and Finesse remain regrettably out of print.
---Thom Jurek, All Music Guide |
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