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4 x CD |
| 6.488 Ft
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| 1. CD tartalma: |
| 1. | East Of The Sun
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| 2. | For All We Know
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| 3. | I Get A Kick Out Of You
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| 4. | Greensleaves
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| 5. | Two Degrees East, Three Degrees West
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| 6. | Time After Time
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| 7. | You Go To My Head
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| 8. | Susie
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| 9. | Out Of Nowhere
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| 10. | The One I Love (Belongs To Someone Else)
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| 11. | Polka Dots And Moonbeams
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| 12. | Samba De Orfeu
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| 13. | Poor Butterfly
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| 2. CD tartalma: |
| 1. | Theme From "Black Orpheus"
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| 2. | El Prince
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| 3. | Alone Together
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| 4. | Nancy
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| 5. | Embarcadero
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| 6. | Blues For Fun
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| 7. | Take Ten
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| 8. | That Old Feeling
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| 9. | Angel Eyes
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| 10. | Rude Old Man
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| 11. | A Taste Of Honey
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| 12. | When Joanna Loved Me
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| 13. | Samba Cantina
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| 14. | Bossa Antigua
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| 3. CD tartalma: |
| 1. | Samba Cepeda
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| 2. | A Ship Without A Sail
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| 3. | The Night Has A Thousand Eyes
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| 4. | Any Other Time
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| 5. | The Girl From East 9th Street
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| 6. | CuraÇao Dolorosa
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| 7. | O Gato
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| 8. | Stranger In Town
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| 9. | By The River Saint Marie
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| 10. | Glad To Be Unhappy
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| 11. | Hi-lili, Hi-lo
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| 12. | Easy Living
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| 13. | All Across The City
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| 4. CD tartalma: |
| 1. | All Through The Night
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| 2. | I've Grown Accustomed To Her Face
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| 3. | Here's That Rainy Day
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| 4. | Bewitched
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| 5. | My Funny Valentine *
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| 6. | Desmond Blue *
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| 7. | Then I'll Be Tired Of You *
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| 8. | I've Got You Under My Skin *
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| 9. | Late Lament *
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| 10. | I Should Care *
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| 11. | Like Someone In Love *
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| 12. | Ill Wind *
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| 13. | Body And Soul *
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| 14. | Autumn Leaves *
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| 15. | Imagination *
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| 16. | Advise And Consent *
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Jazz
Recorded in New York City between September 1959 & June 1965
Paul Desmond (as)
Jim Hall (g), Percy Heath, George Duvivier, Gene Cherico, Eugene Wright (b), Connie Kay (d)
(*) Bonus tracks:
Recorded in New York, 1961-1962
Paul Desmond (as), Jim Hall (g) plus string and wind orchestra arranged and conducted by Bob Prince.
This box set includes the original albums:
"FIRST PLACE AGAIN" (Warner Bros W 1356)
"TAKE TEN" (RCA Victor LPM 2569)
"BOSSA ANTIGUA" (RCA Victor LPM 3320)
"GLAD TO BE UNHAPPY" (RCA Victor LPM 3407)
"EASY LIVING" (RCA Victor LPM 3480)
"DESMOND BLUE" (RCA Victor LSP-2438) (*) Non-quartet bonus album
This release is an outstanding 4-CD collection comprising the complete master takes by Paul Desmond's pianoless quartet with guitarist Jim Hall.
Produced under superb studio conditions, these are some of the very best recordings ever made by the saxophonist Paul Desmond. This release also includes as a bonus the only non-quartet collaborations of Desmond and Hall in its entirety.
Disc 1: 75:52 min.
Disc 2: 72:26 min.
Disc 3: 70:56 min.
Disc 4: 70:36 min.
"The title of this set by alto saxophonist Paul Desmond refers to his having placed first once again in the alto chair in the Downbeat poll. Released in 1959, First Place Again is the result of an unexpected gathering of the rhythm section of the Modern Jazz Quartet: Percy Heath and Connie Kay, and Jimmy Giuffre 3 guitarist Jim Hall. The four musicians were all unexpectedly at home in New York and took full advantage of cheap, after-hours recording studio time to play out this set of standards and a pair of newer tunes, John Lewis' great blues, "Two Degrees East, Three Degrees West," and "East of the Sun (and West Of The Moon)," from a Princeton University theater work. The rest, including a fine reading of "Greensleeves," which is short and tight here, Cole Porter's "I Get a Kick out of You," J. Fred Coots' "For All We Known," "You Got to My Head" - another Coots' tune - and Sammy Cahn's "Time After Time," are done with an airy, amiable vibe, especially the work between Hall and the rhythm section, which is full of counterpoint and sharp accents. Desmond, of course, being at that time the king of melodic improvisation on the alto - with the possible exception of Art Pepper's ascendancy - is in fine form. His whimsical, breathy, dry tone is sharp, on the spot, and full of ideas as he quotes from a vast number of tunes. This is a thoroughly enjoyable and relaxed set if ultimately unmemorable."
---Thom Jurek -All Music Guide
"As intended, this album presents alto sax specialist Paul Desmond as never featured before, with the backing of a string orchestra. The record, filled with such beautiful jazz standards as "My Funny Valentine," "I've Got You Under My Skin," and "Body and Soul," is very rich in texture, yet subtle and mellow overall in mood. It's unyielding purpose: to soothe the souls of its listeners. Desmond's style and tone shine with an alluring quality, and the record is filled with melodies that don't fail to stimulate the sophisticated jazz listener. Desmond's melodies are eloquently detailed and charmingly spun in the midst of the string orchestra arranged and conducted by Bob Prince. The legendary Jim Hall is featured as guest guitarist, playing yet another scintillating role and using his classic comping style. Hall is perhaps the most highly respected of all jazz guitarists for his good taste and witty inventiveness. Desmond has always been most familiar to the jazz public for his sweeping scale passages and his seemingly effortless spontaneity during periods of improvisation, although here he is often featured in a more lyrical ballad style on such romantic tunes as "My Funny Valentine," "Late Lament," and "Then I'll Be Tired of You." This album is a highly innovative and meticulously crafted work, reflecting the ongoing success of both Desmond and Hall within the 1960s and the cool jazz period. Both of these musicians spent time working with Dave Brubeck and later lent themselves to many of Antonio Carlos Jobim's bossa nova projects. The arrangements are extraordinary throughout this collection, including the charming "Valentine," which begins with a fantastic Elizabethan flavor. The intro sets up the mood to carry Desmond into the first chorus, which then glides into a 20th century style. The tune "I Should Care" is "a shimmering debt to Ibert and one of the most imaginative blendings you will ever hear of strings, reeds, French horn and harp," according to the liner notes. The tone of the album: lush, reflective, thought-provoking, and soul-stirring. This work is quite a plus for any listener and especially those who consider themselves avid fans of Paul Desmond."
---Shawn Haney -All Music Guide
"Even though Desmond was kidding when he described himself as the world's slowest alto player, this record bears out the kernel of truth within the jest. Here, Desmond set out to make a record of love songs and torch ballads, so the tempos are very slow to medium, the mood is of wistful relaxation, and the spaces between the notes grow longer. At first glance, Desmond may seem only peripherally involved with the music-making, keeping emotion at a cool, intellectual arms' length, yet his exceptionally pure tone and ruminative moods wear very well over the long haul. Again, Jim Hall is his commiserator and partner, and the guitarist gets practically as much space to unwind as the headliner; the solo on "Angel Eyes" is an encyclopedia of magnificent chording and single-string eloquence. Gene Wright returns on bass, spelled by Gene Cherico on "Poor Butterfly," and Connie Kay's brush-dominated drum work is pushed even further into the background. A lovely recording, though not the best album in the Desmond/Hall collaboration."
"Now listeners enter the heart of the Paul Desmond/Jim Hall sessions, a great quartet date with Gene Cherico manning the bass (Gene Wright deputizes on the title track) and MJQ drummer Connie Kay displaying other sides of his personality. Everyone wanted Desmond to come up with a sequel to the monster hit "Take Five"; and so he did, reworking the tune and playfully designating the meter as 10/8. Hence "Take Ten," a worthy sequel with a solo that has a Middle-Eastern feeling akin to Desmond's famous extemporaneous excursion with Brubeck in "Le Souk" back in 1954. It was here that Desmond also unveiled a spin-off of the then-red-hot bossa nova groove that he called "bossa antigua" (a sardonic play-on-words meaning "old thing"), which laid the ground for Desmond's next album and a few more later in the decade. Two of the best examples are his own tunes, the samba-like "El Prince" (named after arranger Bob Prince), an infectious number with on-the-wing solo flights that you can't get out of your head, and the haunting "Embarcadero." Hall now gets plenty of room to stretch out, supported by Kay's gently dropped bombs, and he is the perfect understated swinging foil for the wistful altoist. There is not a single track here that isn't loaded with ingeniously worked out, always melodic ideas."
"Bossa Antigua picks up the samba-based rim shots of drummer Connie Kay on Take Ten and tries to make a whole new record out of them. While the title track duplicates the original percolating groove of "El Prince," other tracks like "Samba Cantina" revert to a typical bossa nova rhythm of the period, which leads one to conclude that "bossa antigua" is merely whatever Desmond says it is. Of the album's two non-originals, "The Night Has a Thousand Eyes," of course, is made-to-order for Desmond's wistful, sophisticated temperament, and he delivers exactly what a Desmond devotee would expect and love; and "A Ship Without a Sail" has some memorable off-the-cuff solo ideas. Jim Hall is around again to lend subtle rhythm support and low-key savvy in his solos, and like many Desmond companions of this period, he makes a fine sparring partner in the contrapuntal exchanges. The Brubeck Quartet's Gene Wright again lends a sturdy hand on bass. The playing is wonderful throughout, though just missing the full-throttle inspiration of Take Ten."
"As the Paul Desmond/Jim Hall quartet's recording activities gradually came to a halt by 1965, RCA Victor assembled the remains of a number of their later sessions into one last album [...] Indeed, they constitute the best Desmond/Hall album since Take Ten, more varied in texture and mood and by and large more inspired in solo content than Bossa Antigua and Glad to Be Unhappy. As a near-ideal example of this collaboration at its intuitive peak, "Polka Dots and Moonbeams" opens with Hall paraphrasing the tune, and Desmond comes in on the bridge with a perfectly timed rejoinder that sounds as if he's asking a question. "Here's That Rainy Day" is another apt match of a standard to Desmond's sophisticated personality; he is at his dry, jaunty best on the uptempo "That Old Feeling"; and both have a ball jamming on the blues in Desmond's wry, quick "Blues for Fun." Nothing wrong with the outtakes, either; both are gems, although you will hear one - just one! - of Desmond's extremely rare smudged notes on his last entrance of "All Through the Night."
---Richard S. Ginell -All Music Guide |
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