Remembering Paul Desmond, American saxophonist and compopser.
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Paul Emil Breitenfeld (San Francisco, November 25, 1924-New York, May 30, 1977), known as Paul Desmond, was an American jazz saxophonist (alto saxophone). He was a representative figure of mainstream jazz and cool jazz, specializing in ballads and melodic improvisation; It is also characterized by its quotes from classical music and folk songs.
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Born to a German father and an Irish mother, alto sax player Paul Desmond, received his first notions of music from hands of his father, who for some time had been playing the organ in a silent movie theater to accompany movie scenes and later arranged for dance orchestras. Desmond studied at San Francisco Polytechnic and at State College where she obtained a diploma in the clarinet, an instrument that had always fascinated her. It was in 1950 when he decided to adopt the alto sax as his definitive instrument and with which he had his first dabbles with professional music within Jack Fina’s group.
Influenced by the teacher, Johnny Hodges and especially by the sound of Pete Brown’s sax, he responded to the call, ten years later, of the pianist Dave Brubeck, with whom he remained for a whopping seventeen years and whom he had known since 1943. In That group, Paul Desmond was the most talented musician of all and essentially contributed to the combo’s success with his characteristic melodic style, of great purity and full of vigor and sweetness at the same time. His contribution to the great albums of Dave Brubeck, especially in the extraordinary song: “Take Five” for Columbia recorded in 1962 with the album “Time Out” was extraordinary and from then on, Desmond was recognized as the alma mater of the quartet. by Brubeck.
Outside the context of Brubeck’s group, Paul Desmond recorded, not without some displeasure on Brubeck’s part, some extraordinary albums with baritone sax player, Gerry Mulligan, and with guitarist, Jim Hall.
Paul Desmond also recorded several albums under his name, mainly when the quartet dissolved. In the seventies, Paul Desmond almost disappeared from the jazz music scene due to his endemic attacks of laziness, his problems with alcohol and also due to the appearance of the first symptoms of the disease that would take his life: lung cancer. In 1972 he briefly reappeared alongside Dave Brubeck at the Newport Jazz Festival. He decided to write his own autobiography but again laziness prevented him from getting past the first chapter. In 1974 he settled in the famous “Half Note” in New York with his own quartet where night after night he delighted his numerous followers.
An underrated saxophonist until very recently, today critics recognize him what was denied him in life: being one of the great jazz musicians of the entire West Coast of the United States and a master in the art of improvisation, with his sound being recognizable. from the first notes. Equipped with fine humor (Desmond’s pseudonym, he looked it up in a telephone directory), he left all his money to the Red Cross, his Steinway piano to the Bradley’s club and specified in his will that his body be cremated because, literally, I didn’t want to be a monument on the way to the airport.
His main influences were Johnny Hodges and especially the sound of Pete Brown’s sax, also the melodic tone of Lester Young and Art Pepper. Paul Desmond’s playing is fluid and airy, with little vibrato, with a much softer sound than other saxes, which is its charm. His very pure sound, his easy and inspired phrasing and his sense of swing make him one of the most popular musicians of West Coast Jazz.
Paul Desmond produced a light, melodic tone on the alto saxophone. He said he was trying to sound ‘like a dry martini’. With a style similar to that of Lee Konitz, another of his influences, he quickly became one of the best-known jazz saxophonists of his time. Much of the success of Brubeck’s classic quartet was due to the juxtaposition of their fluid style over Brubeck’s sometimes relatively heavy, polytonal piano.
An underrated saxophonist in the eighties, current critics recognize him as one of the great jazz musicians of the West Coast of the United States and a master in the art of improvisation, his sound being recognizable from the first note. His rare facility for improvised counterpoint is perhaps most evident on the two albums he recorded with baritone sax player Gerry Mulligan (Mulligan-Desmond Quartet and Two of a Mind). Desmond’s playing was also notable for his ability to produce extremely high notes on his saxophone.
Desmond played a Selmer Super model alto saxophone fitted with an M. C. Gregory model 4A-18M hard rubber mouthpiece, both from 1951, with a 3 ½ moderate hard Rico reed.
In New York, the highways that lead to the different airports pass in front of several cemeteries.
Discography
1950 | The Dave Brubeck Octet | Dave Brubeck | Fantasy Records |
1951 | Brubeck/Desmond | Dave Brubeck | Fantasy Records |
1951 | Jazz at Storyville | Dave Brubeck | Fantasy Records |
1951 | Modern Complex Dialogues | Dave Brubeck | Alto Records |
1951 | How Long, Baby How Long, Pt. 1&2 | Jack Sheedy | Coronet Records |
1951 | The Man I Love c/w Down in Honkytonk Town | Jack Sheedy | Coronet |
1952 | Jazz at the Blackhawk | Dave Brubeck | Fantasy |
1952 | The Dave Brubeck Quartet | Dave Brubeck | Fantasy |
1953 | Jazz at Oberlin | Dave Brubeck | Fantasy |
1953 | Jazz at the College of the Pacific | Dave Brubeck | Fantasy |
1954 | Dave Brubeck at Storyville 1954 | Dave Brubeck | Columbia Records |
1954 | Jazz Goes to College | Dave Brubeck | Columbia |
1954 | Brubeck Time | Dave Brubeck | Columbia |
1954 | Gerry Mulligan/Paul Desmond | Paul Desmond, Gerry Mulligan | Fantasy |
1955 | Jazz: Red Hot And Cool | Dave Brubeck | Columbia |
1955 | Chet Baker Quartet Plus: The Newport Years, Vol. 1 | Chet Baker | Philology Records |
1956 | The Paul Desmond Quartet With Don Elliott | Paul Desmond | Fantasy |
1956–57 | Dave Brubeck Quartet Live in 1956-57 Featuring Paul Desmond | Dave Brubeck | Jazz Band |
1956 | Live From Basin Street | Dave Brubeck | Jazz Band |
1956 | Jazz Impressions of U.S.A. | Dave Brubeck | Columbia |
1957 | Reunion | Dave Brubeck w/ Dave Van Kriedt | Fantasy |
1957 | Jazz Goes to Junior College | Dave Brubeck | Columbia |
1957 | Dave Digs Disney | Dave Brubeck | Columbia |
1957 | Blues in Time | Paul Desmond, Gerry Mulligan | Verve Records |
1958 | In Europe | Dave Brubeck Quartet | Columbia |
1958 | Newport 1958 | Dave Brubeck | Columbia |
1958 | Jazz Impressions of Eurasia | Dave Brubeck | Columbia |
1959 | Gone with the Wind | Dave Brubeck | Columbia |
1959 | Time Out | Dave Brubeck | Columbia |
1959 | St. Louis Blues | Dave Brubeck | Moon Records |
1959 | First Place Again | Paul Desmond | Warner Bros. |
1960 | Southern Scene | Dave Brubeck | Columbia |
1960 | Brubeck and Rushing | Dave Brubeck w/ Jimmy Rushing | Columbia |
1960 | Bernstein Plays Brubeck Plays Bernstein | Dave Brubeck w/ Leonard Bernstein | Columbia Records |
1960 | Tonight Only w/ Carmen McRae | Dave Brubeck | Columbia |
1961 | Time Further Out | Dave Brubeck | Columbia |
61, 63, 64 | The Complete Recordings of the Paul Desmond Quartet With Jim Hall | Paul Desmond | Mosaic Records |
1961 | Take Five | Dave Brubeck | Columbia |
1962 | Desmond Blue | Paul Desmond | RCA Victor |
1962 | Countdown – Time in Outer Space | Dave Brubeck | Columbia |
1962 | Bossa Nova U.S.A. | Dave Brubeck | Columbia |
1962 | Brandenburg Gate: Revisited | Dave Brubeck | Columbia |
1962 | Late Lament | Paul Desmond | RCA/Bluebird Records |
1962 | Two of a Mind | Paul Desmond, Gerry Mulligan | RCA Victor |
1962 | Brubeck in Amsterdam | Dave Brubeck | Columbia |
1963 | At Carnegie Hall | Dave Brubeck Quartet | Columbia |
1963 | Take Ten | Paul Desmond | RCA Victor |
63, 64, 65 | Easy Living | Paul Desmond | RCA Victor |
1963 | Glad to Be Unhappy | Paul Desmond | RCA Victor |
1963 | Time Changes | Dave Brubeck | Columbia |
1964 | Jazz Impressions of Japan | Dave Brubeck | Columbia |
1964 | Jazz Impressions of New York | Dave Brubeck | Columbia |
1964 | In Concert 1964 | Dave Brubeck | Jazz Connoisseur |
1964 | Bossa Antigua | Paul Desmond | RCA Victor |
1964 | Dave Brubeck in Berlin | Dave Brubeck | Columbia Records |
1965 | The Canadian Concert of Dave Brubeck | Dave Brubeck | Can-Am Records |
1965 | Angel Eyes | Dave Brubeck | Columbia |
1965 | My Favorite Things | Dave Brubeck | Columbia |
1965 | Time In | Dave Brubeck | Columbia |
1966 | Anything Goes! | Dave Brubeck | Columbia |
1966 | The Quartet | Dave Brubeck | Europa Jazz |
1966 | Jackpot! | Dave Brubeck | Columbia |
1967 | Bravo! Brubeck! | Dave Brubeck | Columbia |
1967 | Buried Treasures | Dave Brubeck | Columbia/Legacy |
1967 | Take Five Live | Dave Brubeck | Jazz Music Yesterday |
1967 | The Last Time We Saw Paris | Dave Brubeck | Columbia |
1968 | Summertime | Paul Desmond | A&M/CTI |
1969 | From the Hot Afternoon | Paul Desmond | A&M/CTI |
1969 | Bridge Over Troubled Water | Paul Desmond | A&M/CTI |
1971 | The Only Recorded Performance of Paul Desmond With the Modern Jazz Quartet | Paul Desmond | Finesse Records |
1972 | We’re All Together Again for the First Time | Dave Brubeck/Gerry Mulligan/Paul Desmond | Atlantic Records |
1973 | Skylark | Paul Desmond | CTI Records |
1973 | Giant Box | Don Sebesky | CTI |
1974 | She Was Too Good to Me | Chet Baker | CTI |
1974 | Pure Desmond | Paul Desmond | CTI |
1975 | Like Someone in Love | Paul Desmond | Telarc Records |
1975 | Concierto | Jim Hall | CTI |
1975 | 1975: The Duets | Dave Brubeck/Paul Desmond | Horizon Records |
1975 | The Paul Desmond Quartet Live | Paul Desmond | Horizon |
1976 | At Bourbon Street, Toronto 10/75 | Paul Desmond | Artists House |
1976 | 25th Anniversary Reunion | Dave Brubeck | Horizon |
1977 | You Can’t Go Home Again | Chet Baker | Horizon |
1977 | The Best Thing for You | Chet Baker | A&M |
1977 | Watermark | Art Garfunkel | Columbia |
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