Review by Richard S. Ginell
In the midst of lolling away his time in semi-retirement after the Dave Brubeck Quartet broke up in 1967, Paul Desmond allowed himself to be lured back into the recording studio by producer Creed Taylor, who knew exactly what to do with his idle, but by no means spent, alto player. The result is a beautifully produced, eclectic album of music that revives Desmond's "bossa antigua" idea and sends it in different directions, directly toward Brazil and various Caribbean regions, as well as back to the jazzy States. "Samba With Some Barbecue" is a marvelous bossa nova treatment of Louis Armstrong's New Orleans rouser "Struttin' With Some Barbecue," whose opening bars bear an uncanny resemblance to those of "Samba de Orpheus" (which the erudite Desmond was no doubt aware of). No matter how many times you've heard "Autumn Leaves," Desmond's bossa nova treatment will give you a fresh jolt as he offhandedly tosses off the most exquisitely swinging ruminations; too bad it fades after only three minutes. In a pliable mood, Desmond even consents to record a then-new Beatles tune, "Ob-La-Di, Ob-La-Da," samba-style, quoting "Hey Jude" along the way (it's very possible that he was attracted by the main character of the lyric, a fellow named Desmond), and he makes potent music out of movie tunes like "Emily" and even the snazzy "Lady in Cement." Don Sebesky brings in some intelligently crafted arrangements for big band augmented by French horns, Herbie Hancock turns in some often brilliant solo work in several featured spots, Ron Carter is on bass, and Leo Morris and Airto Moreira alternate on drums. Never before had Desmond's alto been recorded so ravishingly -- Rudy Van Gelder's engineering gives it a new golden-mellow glow -- and the original LP had a great, sarcastic cover: gleaming icicles.
In the midst of lolling away his time in semi-retirement after the Dave Brubeck Quartet broke up in 1967, Paul Desmond allowed himself to be lured back into the recording studio by producer Creed Taylor, who knew exactly what to do with his idle, but by no means spent, alto player. The result is a beautifully produced, eclectic album of music that revives Desmond's "bossa antigua" idea and sends it in different directions, directly toward Brazil and various Caribbean regions, as well as back to the jazzy States. "Samba With Some Barbecue" is a marvelous bossa nova treatment of Louis Armstrong's New Orleans rouser "Struttin' With Some Barbecue," whose opening bars bear an uncanny resemblance to those of "Samba de Orpheus" (which the erudite Desmond was no doubt aware of). No matter how many times you've heard "Autumn Leaves," Desmond's bossa nova treatment will give you a fresh jolt as he offhandedly tosses off the most exquisitely swinging ruminations; too bad it fades after only three minutes. In a pliable mood, Desmond even consents to record a then-new Beatles tune, "Ob-La-Di, Ob-La-Da," samba-style, quoting "Hey Jude" along the way (it's very possible that he was attracted by the main character of the lyric, a fellow named Desmond), and he makes potent music out of movie tunes like "Emily" and even the snazzy "Lady in Cement." Don Sebesky brings in some intelligently crafted arrangements for big band augmented by French horns, Herbie Hancock turns in some often brilliant solo work in several featured spots, Ron Carter is on bass, and Leo Morris and Airto Moreira alternate on drums. Never before had Desmond's alto been recorded so ravishingly -- Rudy Van Gelder's engineering gives it a new golden-mellow glow -- and the original LP had a great, sarcastic cover: gleaming icicles.
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Reseña de Richard S. Ginell
En medio de su tiempo de semi-retiro tras la disolución del Dave Brubeck Quartet en 1967, Paul Desmond se dejó atraer de nuevo al estudio de grabación por el productor Creed Taylor, que sabía exactamente qué hacer con su ocioso, pero en absoluto gastado, contralto. El resultado es un álbum ecléctico y bellamente producido que revive la idea de la "bossa antigua" de Desmond y la envía en diferentes direcciones, directamente hacia Brasil y varias regiones del Caribe, así como de vuelta a los Estados Unidos del jazz. "Samba With Some Barbecue" es una maravillosa versión bossa nova de la canción de Louis Armstrong "Struttin' With Some Barbecue", cuyos primeros compases guardan un asombroso parecido con los de la "Samba de Orpheus" (que el erudito Desmond sin duda conocía). No importa cuántas veces hayas escuchado "Autumn Leaves", el tratamiento de la bossa nova de Desmond te dará una nueva sacudida cuando lance las cavilaciones más exquisitamente oscilantes; lástima que se desvanezca después de sólo tres minutos. En un estado de ánimo flexible, Desmond incluso consiente en grabar un tema de los Beatles, "Ob-La-Di, Ob-La-Da", al estilo de la samba, citando de paso "Hey Jude" (es muy posible que se sintiera atraído por el personaje principal de la letra, un tipo llamado Desmond), y hace música potente de melodías de películas como "Emily" e incluso la elegante "Lady in Cement". Don Sebesky aporta algunos arreglos inteligentemente elaborados para la big band, aumentados por las trompas francesas, Herbie Hancock realiza un trabajo en solitario a menudo brillante en varios puntos destacados, Ron Carter está en el bajo, y Leo Morris y Airto Moreira se alternan en la batería. Nunca antes se había grabado el contralto de Desmond de forma tan maravillosa -la ingeniería de Rudy Van Gelder le da un nuevo brillo dorado- y el LP original tenía una portada genial y sarcástica: carámbanos brillantes.
En medio de su tiempo de semi-retiro tras la disolución del Dave Brubeck Quartet en 1967, Paul Desmond se dejó atraer de nuevo al estudio de grabación por el productor Creed Taylor, que sabía exactamente qué hacer con su ocioso, pero en absoluto gastado, contralto. El resultado es un álbum ecléctico y bellamente producido que revive la idea de la "bossa antigua" de Desmond y la envía en diferentes direcciones, directamente hacia Brasil y varias regiones del Caribe, así como de vuelta a los Estados Unidos del jazz. "Samba With Some Barbecue" es una maravillosa versión bossa nova de la canción de Louis Armstrong "Struttin' With Some Barbecue", cuyos primeros compases guardan un asombroso parecido con los de la "Samba de Orpheus" (que el erudito Desmond sin duda conocía). No importa cuántas veces hayas escuchado "Autumn Leaves", el tratamiento de la bossa nova de Desmond te dará una nueva sacudida cuando lance las cavilaciones más exquisitamente oscilantes; lástima que se desvanezca después de sólo tres minutos. En un estado de ánimo flexible, Desmond incluso consiente en grabar un tema de los Beatles, "Ob-La-Di, Ob-La-Da", al estilo de la samba, citando de paso "Hey Jude" (es muy posible que se sintiera atraído por el personaje principal de la letra, un tipo llamado Desmond), y hace música potente de melodías de películas como "Emily" e incluso la elegante "Lady in Cement". Don Sebesky aporta algunos arreglos inteligentemente elaborados para la big band, aumentados por las trompas francesas, Herbie Hancock realiza un trabajo en solitario a menudo brillante en varios puntos destacados, Ron Carter está en el bajo, y Leo Morris y Airto Moreira se alternan en la batería. Nunca antes se había grabado el contralto de Desmond de forma tan maravillosa -la ingeniería de Rudy Van Gelder le da un nuevo brillo dorado- y el LP original tenía una portada genial y sarcástica: carámbanos brillantes.
A1 Samba With Some Barbecue 4:20
A2 Olvidar 5:30
A3 Ob-La-Di, Ob-La-Da 2:10
A4 Emily 4:45
A5 Someday My Prince Will Come 3:05
B1 Autumn Leaves 3:00
B2 Where Is The Love? 5:30
B3 Lady In Cement 3:06
B4 North By Northeast 4:30
B5 Summertime 4:00
Bass – Frank Bruno (tracks: A3), Ron Carter
Drums – Airto Moreira (tracks: A1, B3), Leo Morris
French Horn – Jim Buffington, Ray Alonge, Tony Miranda
Guitar – Bucky Pizzarelli (tracks: A3), Eumir Deodato (tracks: B3), Jay Berliner (tracks: B2, B3, B5), Joe Beck (tracks: A1)
Piano – Herbie Hancock
Saxophone – Paul Desmond
Release Date: 1969
Genre: Jazz
Styles: Cool, Mainstream Jazz
Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey
Recording Date: October 10, 1968 - December 20, 1968
Engineer – Rudy Van Gelder
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