Michael Ricci, the proprietor of the All About Jazz web site, asked me to contribute (in the true sense of the word) something about “Take Ten,” the piece Paul Desmond hoped would become as big a hit as its predecessor, “Take Five.” Michael and I worked together to adapt a substantial portion of the chapter of my Desmond biography that deals with “Take Ten.” AAJ put it up today, with a bonus in the form of illustrated audio of Desmond, Jim Hall, Gene Cherico and Connie Kay playing “Samba de Orpheu” from the Take Ten CD. By clicking here, you will find all of that, complete with a link to the publisher of Take Five: The Public and Private Lives of Paul Desmond, who would be happy to sell you a copy and throw in free shipping. Christmas is coming. The book wraps beautifully.
Take Ten
December 3, 2008 by
The nonagenarian pianist presented de Barros with every biographer’s hope, unrestricted access to his subject’s personal papers and nearly unrestricted access to her private thoughts. He made the most of it, turning exhaustive research and hundreds of hours of interviews into a true story with the sweep of a novel. From the early discovery of McPartland’s musical gift through her wartime service, her ecstatic and stormy marriage to Jimmy McPartland, her growth as a pianist, her deep affair with Joe Morello, and the radio show that made her a national figure, she has had a fascinating life. It makes a splendid read.
Mulligan’s Concert Jazz Band had three fewer musicians than most big jazz outfits. Its size permitted precision, flexibility and subtlety, yet the band had the power of sprung steel. In this concert from a half century ago, the CJB is as fresh as yesterday. Arrangements by Mulligan, Bob Brookmeyer, Al Cohn and Johnny Mandel set standards to which big band writers still aspire. Bassist Buddy Clark and drummer Mel Lewis inspired Mulligan, Brookmeyer, Conte Candoli, Gene Quill and Zoot Sims to some of the best soloing of their careers. This beautifully produced issue of the complete concert is a basic repertoire item.
…and the book UNwraps even better!
While I’ve revered your Jazz writing since the twofer copy I read regarding Don Lanphere and Miles Davis years ago,I didn’t discover your blog till today. I fell for jazz way back in 1957 lying on my back in an Izmir, Turkey, hospital, listening to the strange sounds eminating from a soldier’s portable record player; it was Brubeck and Desmond, as I eventually learned… and I’ve never looked back since! I’ll be getting your Desmond bio for Christmas (Mrs.E. doesn’t know this yet) and eager to find more of his droll, dry-martini humor and your own journalistic acumen. But for now, may I put in a word for one of my true desert isle discs, Mulligan’s and Desmond’s RCA gem, “Two of a Mind”, so much more inspired than the same-time alternate on Verve. Give us a review of those two, why don’cha?
(The two albums Mr. Leimbacher mentions were five years apart. “Two of a Mind” [ http://www.amazon.com/Two-Mind-Paul-Desmond/dp/B00008VGMU ] was recorded in 1962. “Gerry Mulligan-Paul Desmond Quartet” [ http://www.amazon.com/Gerry-Mulligan-Paul-Desmond-Quartet/dp/B000QGOBJY/ref=sr_1_1?ie=UTF8&s=music&qid=1228365839&sr=1-1 ] was done in 1957. Review? They are both necessary components of any serious collection. “Two of a Mind” gets a slight edge because of the inspired playing by both men on “Blight of the Fumble Bee.” — DR)