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| 4.290 Ft
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| 1. | Just Squeeze Me
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| 2. | Darn That Dream
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| 3. | Wave
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| 4. | Someday My Prince Will Come
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| 5. | Wendy
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| 6. | Take Five
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Jazz
Paul Desmond - Sax (Alto)
Don Thompson Quartet - Bass
Ed Bickert - Guitar (Electric)
A previously unreleased concert by Paul Desmond's Canadian Quartet and Desmond's next to last recording ever! Includes a 16-page booklet containing a review of this concert published the following day, as well as an amazing Desmond interview taped right after the concert was performed. Marvelous music in excellent sound quality! Paul Desmond formed his Canadian quartet in early 1975. The group's earliest known recordings consist of radio broadcasts from Toronto's Bourbon Street Club on March 29 of that year. Two subsequent live recordings at that venue (in October and November 1975 - some of which would be issued by Desmond himself on the album Live) and a sole version of "Emily" (filmed at the Monterey Jazz Festival 1975) marked the complete discography of the quartet until now.
Since Paul Desmond's death in 1977, there have been only a handful of previously unissued recordings released under his name, though this previously unreleased concert from the Edmonton Festival in 1976 may possibly be his final recorded date as a leader. With the same Canadian trio that joined him for his sessions at Toronto's Bourbon Street in 1975 (guitarist Ed Bickert, bassist Don Thompson, and drummer Jerry Fuller), the alto saxophonist is in a typically swinging mood, with his dry tone and lyrical playing buoyed by the terrific rhythm section. Desmond is up to his usual tricks, inserting in sly quotes from time to time. Bickert and Thompson, both recommended to Desmond by Jim Hall (who worked with him on a number of his earlier albums), provide intuitive backdrops that support the leader while also contributing stunning solos themselves. Most of the songs had long been part of Desmond's repertoire, though Thompson's mystical, droning East Indian solo in "Take Five" (similar to the version that appears on the CD Paul Desmond Quartet Live) takes the leader's signature tune in a different direction. The source is evidently an aircheck of a radio broadcast, as occasional minor flutter is audible, though the sound is excellent. The booklet contains a review of the performance that was published the following day, along with a transcription of a radio interview broadcast right after the concert, though neither the writer nor broadcaster is identified. Desmond fans will laugh at the ridiculous Photoshop cover, with a photo of the saxophonist dating from the mid-'60s with a backdrop of the stage that includes the lighted banner Edmonton Festival '76; the giveaway is Desmond's hairline, which has not receded nearly as far back as the photo on the back cover. ~ Ken Dryden, 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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