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| Complete Oberlin & College of the Pacific Concerts |
| Paul Desmond |
spanyol
első megjelenés éve: 2003 |
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| (2003)
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2 x CD |
| 5.457 Ft
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| 1. CD tartalma: |
| 1. | These Foolish Things
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| 2. | The Way You Look Tonight
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| 3. | Perdido
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| 4. | Stardust
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| 5. | How High the Moon
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| 6. | Lullaby in Rhythm
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| 7. | I'll Never Smile Again
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| 8. | Laura
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| 9. | For All We Know
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| 10. | All the Things You Are
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| 11. | I Remember You
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| 2. CD tartalma: |
| 1. | Crazy Rhythm
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| 2. | Let's Fall in Love
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| 3. | Stardust
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| 4. | How High the Moon
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| 5. | The Way You Look Tonight
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| 6. | Love Walked In
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| 7. | Give a Little Whistle
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| 8. | Trolley Song [*]
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| 9. | Blue Moon [*]
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| 10. | Jeepers Creepers [*]
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| 11. | Trolley Song [*]
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Jazz / Cool
Paul Desmond (alto sax)
Dave Brubeck (piano)
Ron Crotty (bass)
Lloyd Davis or Joe Dodge (drums)
" Two of the most important and exciting live recordings of Paul Desmond featured in the Dave Brubeck Quartet "
Performing inspired modern versions of great standards such as These Foolish Things, The Way You Look Tonight, Laura, Perdido, Stardust, Crazy Rhythm, Jeepers Creepers, and Let's Fall in Love, among others.
On these outstanding live recordings the doors of creativity were left wide open and the band never sounded better.
"Desmond and Brubeck's playing were as different as night and day. Their contrast in styles complemented each other, while creating a richer
and fuller composite sound. . . The synergy between the two musicians was incredible and immediate. During their first experiences playing
together, they were already experimenting with many of the things that would later develop into the Quartet's trademark sound. . .
From his witty sardonic humor to his lyrical, mellifluous playing, Paul Desmond was one of the truly individual voices on his instrument." (from the original notes)
Lest anyone be confused, Paul Desmond did not go back to Oberlin College or the College of the Pacific to re-create his classic outings with the Dave Brubeck Quartet. This is that band from 1953 with both Joe Dodge and Lloyd Davis on drums -- Dodge was at Oberlin. These recordings have been issued stateside on CD on the Fantasy/OJC label, but this Definitive Records edition attempts to use these two concerts and four performances from the Blackhawk in the same year to document the live progress of the band as it took standards and reinvented them in its own experimental manner, utilizing Brubeck's radical ideas of harmony and rhythm learned from composers Darius Milhaud and Igor Stravinsky. However, even the Blackhawk recordings have been issued in their entirety by Fantasy, so there is nothing new here under the sun except a handy and misleading package. The sound is lovely and warm, and the performances are historic for their influence in bringing jazz to college campuses in the 1950s. It is recommended to get the OJC reissues because of their superior liner notes and original artwork -- and the bonus cuts on the Blackhawk date. ~ Thom Jurek, All Music Guide
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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