Paul Desmond featuring Jim Hall – Glad To Be Unhappy {RCA}


Review by Richard S. Ginell (allmusic.com)

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.

Tracks:
01 – Glad To Be Unhappy
02 – Poor Butterfly
03 – Stranger in Town
04 – A Taste of Honey
05 – Any Other Time
06 – Hi-Lili, Hi-Lo
07 – AngelEyes
08 – By the River Sainte Marie
09 – All Across the City
10 – All Through the Night

Personnel:
Paul Desmond – alto saxophone
Jim Hall – guitar
Gene Wright – bass (except on 2)
Gene Cherico – bass (on 2 only)
Connie Kay – drums

Recorded in RCA Victor’s Studio “A” and Webster Hall, New York City; on 1963 and 1964.

Quality: eac, flac, cue, log, artwork

Paul Desmond with Strings – Desmond Blue {Bluebird}


Review by Shawn M. Haney (allmusic.com)

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.

Tracks:
01 – My Funny Valentine
02 – Desmond Blue
03 – Then I’ll Be Tired of You
04 – I’ve Got You Under My Skin
05 – Late Lament
06 – I Should Care
07 – Like Someone in Love
08 – Ill Wind (You’re Blowin’ Me No Good)
09 – Body and Soul
10 – Autumn Leaves
11 – Imagination
12 – Advise and Consent
13 – Autumn Leaves (take 1) – previously unreleased
14 – Autumn Leaves (take 3) – previously unreleased
15 – Imagination (take 4) – previously unreleased
16 – Advise and Consent (take 4) – previously unreleased

Personnel:
Paul Desmond – alto saxophone, featuring:

Jim Hall – guitar
Gene Cherico, Milt Hinton, George Duvivier – bass
Connie Kay, Bobby Thomas, Osie Johnson – drums

and string section; arranged and conducted by Bob Prince

All selections were recorded at Webster Hall, New York City.

Recorded September 14, 1961; October 2, 1961; June 19, 1961,
September 28, 1961 and March 15, 1962.

Quality: eac, flac, cue, log, artwork

Stan Getz Quartet feat. Astrud Gilberto – Getz Au Go Go {Verve} “Originals”


Review by Lindsay Planer (allmusic.com)
Although the name Stan Getz (tenor sax) was initially synonymous with the West Coast cool scene during the mid-to-late 1950s, he likewise became a key component in the Bossa Nova craze of the early 1960s. Along with Astrud Gilberto (vocals), Getz scored a genre-defining hit with the “Girl From Ipanema,” extracted from the equally lauded Getz/Gilberto (1963). While that platter primarily consists of duets between Getz and João Gilberto (guitar/vocals), it was truly serendipity that teamed Getz with João’s wife Astrud, who claims to have never sung a note outside of her own home prior to the session that launched her career. Getz Au Go Go Featuring Astrud Gilberto (1964) was the second-to-last album that he would issue during his self-proclaimed “Bossa Nova Era” — the final being Getz/Gilberto #2 [live] (1964) concert title from Carnegie Hall. In many ways, that is a logical successor to this one, as both include the “New Stan Getz Quartet.” The band features a young Gary Burton (vibraphone), Kenny Burrell (guitar), Gene Cherico (bass), and Joe Hunt (drums). As is typical with jazz, there are a few personnel substitutions, with Helcio Milito (drums) and Chuck Israels (bass), respectively, filling in on nearly half the effort. As the name of the disc intimates, this recording hails from the venerable Greenwich Village venue, the Café Au Go Go, in mid-August of 1964 — two months after “Girl From Ipanema” became a Top Five pop single. However, the focus of Getz Au Go Go steers away from the Brazilian flavored fare, bringing Astrud Gilberto into the realm of a decidedly more North American style. That said, there are a few Antonio Carlos Jobim compositions — “Corcovado (Quiet Nights of Quiet Stars)” and “One Note Samba” — both of which would be considered as jazz standards in years to follow — as well as the lesser-circulated “Eu E Voce.” Getz and crew gather behind Richard Rodgers and Oscar Hammerstein’s “It Might as Well Be Spring,” and the scintillating instrumental “Summertime,” from Porgy & Bess. Other equally engaging cuts include affective vocal readings of “Only Trust Your Heart,” and the diminutive, yet catchy “Telephone Song.” There is also some great interaction between Getz and Burton on “Here’s to That Rainy Day.” Getz Au Go Go is highly recommended for all dimensions of jazz enthusiasts.

Tracklist:
01 – Corcovado (Quiet Nights of Quiet Stars) 02:52
02 – It Might as Well Be Spring 04:28
03 – Eu E Voce (Me and You) 02:33
04 – Summertime 08:12
05 – 6-Nix-Pix-Flix 01:06
06 – Only Trust Your Heart 04:42
07 – The Singing Song 03:47
08 – The Telephone Song 01:58
09 – One Note Samba 03:20
10 – Here’s That Rainy Day 06:16

Personnel:
Stan Getz – tenor sax and leader
Astrud Gilberto – vocalist
Gary Burton – vibes
Kenny Burrell – guitar
Gene Cherico, Chuck Israels – bass
Joe Hunt, Helcio Milito – drums

Tracks 4, 5, 6, 7, 9, 10 recorded at Cafe Au Go Go, Greenwich Village, N.Y.C.; May 22, 1964
Tracks 1, 2, 3, 8 recorded at Carnegie Hall, N.Y.C.; October 9, 1964

Label: Verve
Year: 2007
Genre: Jazz
Style: Bossa Nova, Cool
Total Time: 39:13

Quality: eac, flac, cue, log, artwork