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| The Best of Paul Desmond |
| Paul Desmond |
első megjelenés éve: 1975
71 perc |
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| (2008)
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CD |
| 3.026 Ft
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| 1. | Song to a Seagull
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| 2. | Take Ten
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| 3. | Romance de Amor
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| 4. | Was a Sunny Day
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| 5. | Summer Song/Summertime
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| 6. | Squeeze Me
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| 7. | I'm Old Fashioned
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| 8. | Nuages
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| 9. | You'd Be So Nice to Come Home To
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| 10. | Autumn Leaves
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| 11. | Skylark
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| 12. | Vocalise
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Jazz / Cool
Recorded: Jun 7, 1972-Apr 23, 1975, Van Gelder Studio, Englewood Cliffs, New Jersey
Paul Desmond (alto saxophone)
Don Sebesky (conductor, piano); Jackie Cain, Roy Kral (vocals); Chet Baker, John Frosk, Alan Rubin, Marvin Stamm (trumpet); Wayne Andre, Garnett Brown (trombone); Paul Faulise (bass trombone); Jimmy Buffington, Peter Gordon (French horn); Phil Bodner (flute); Milt Jackson (vibraphone); Bob James (acoustic & electric pianos); Roland Hanna (piano); Gene Bertoncini, Gabor Szabo, Ed Bickert, Jim Hall (guitar); Ron Carter (bass); Jack DeJohnette, Billy Cobham, Connie Kay, Steve Gadd (drums); Ralph McDonald, Phil Krauss (percussion)
Since Paul Desmond only recorded two albums for CTI, this best-of accumulation from that label stretches the definition a bit by including Desmond appearances on other CTI albums by Jim Hall, Chet Baker, Don Sebesky, and Jackie & Roy, along with extensive samplings from the solo albums. Of course, a more sweeping idea would have been to raid Columbia's vast Dave Brubeck archives for more prime Desmond, but the archivists presumably wanted a more musically unified package. In any case, during this period, Desmond was working at a very relaxed pace, recording now and then, fitting into the carefully produced small-group CTI format and a handful of orchestral sessions. He plays beautifully at all times, with Creed Taylor's production inflating the famous dry-martini alto sax tone into something fuller and lusher. Yet he didn't have too much that was new and striking to say at this stage; the earlier Creed Taylor A&Ms are more eloquent and Desmond's true Indian summer would come in his later Horizon recordings with and without Brubeck. The lopsidedly swinging remake of "Take Ten" with Gabor Szabo on guitar, two tracks from Pure Desmond with guitarist Ed Bickert as Paul's subdued, inspired new sidekick ("Squeeze Me," "I'm Old Fashioned") and an absolutely gorgeous, "Song to a Seagull" from Sebesky's Giant Box stand out. As a summation of a particular period of Desmond's career, there is plenty to enjoy here.
---Richard S. Ginell, AMG
Includes liner notes by Didier C. Deutsch.
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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