Customer Reviews

Take Ten

5 star:		(5)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

I guess everybody knows Paul Desmond from "Time out" and from his composition Take Five. On this recording, it doesn't take much time to recognize his beautiful floating tone, his wonderful solos which are new melodies by themselves, his "cool jazz" signature. On this repertoire -- mostly bossa nova tunes, plus a few standards -- Paul Desmond and Jim Hall (on the guitar) rival of grace: their solos are full of twists and turns, they never hurry and they both contribute to create a very relaxed atmosphere. Connie Kay's drums add some sun to this session. Everything sounds so clean and sweet! Though, they escape the tentation of playing "too easy", thanks to their always surprising lines. The result is very even and this is an extremely pleasant recording overall.

I first owned this music on LP and then paid an exorbitant amount of money to buy it on CD as a Japanese import. I just couldn't gamble that it would ever appear in the States at a more reasonable price. That's how much I love this music! I am pleased to see that it is now available at that more reasonable price! Buy it! I hope that this reissue includes Desmond's original liner notes. Lucky for me his liner notes in my import are included in English as well as Japanese! Like the music contained on the disc Desmond's written words are wry, witty, urbane, and cool. He was a very funny man and, of course, a great saxophone player. His soft light tone is always instantly recognizable and he seems to swing effortlessly. I believe I read somewhere that he had a deal with Dave Brubeck that if he recorded under his own name it wouldn't be with a piano in a quartet setting. If this is true music lovers can be grateful because Desmond and the sublime guitarist Jim Hall are totally simpatico. They recorded together a number of times; all of their collaborations are worth having. I also seem to remember that Desmond once compared his own playing to a dry martini. As a lover of dry martinis I couldn't agree more.....and if Paul didn't say that it is the kind of thing he would have said!

Being a musician and buying jazz records for study purposes often, very rarely has a record moved me so to just put down my saxaphone and listen for the pure thrill of listening to great music. Each song here has that loose, casual, joyful feel that can only be attained by musicians of this caliber. They are not playing for other listeners on this album, they are playing for themselves,and that is what captivates you and draws you in to this album on such a personal level. Paul Desmond and Jim Hall are two of the most unique and original to ever play their particular instrument, but you can infer that from listening to any record with Jim Hall or Paul Desmond. This album is not about that but about how those two combine their ingenious melodic ideas to form something so incredibly unique and brilliant it can't be can't be put into words in this short review. The idea of solos that are both textbook in fundamentals and beautiful to listen to is something signature of both these musicians, but it is especially present on this album. The softness of these tunes is so intense that you must close your eyes and tune out everything around you when you put on this record. The best tracks are 'Theme for Black Orpheus', 'Embarcedaro', and all the rest. 'Nuff said. Buy the record!

This is the kind of thing that really burns me with CD reissues. Amazon offers a $4.99 version of this issued in 2009 on the label "SBME Special Markets". The sound quality was awful, and I kicked myself for buying a budget version when an outside seller was offering the original 1999 CD on the original RCA label for $18. I figured that one had to be closer to the original sound than a budget knock-off, so I bought it. It is exactly the same CD. Shame on Amazon.com for printing misleading label information and leading people to believe there are various versions of CDs available when in fact there is only one. The music is terrific, but if you're looking here, you already know that.

This is a response to the Sept., 2003 review by wsmorrell from Boise,
Idaho. While I agree that this is a great record and that Desmond is one
among the pantheon of jazz immortals, I strongly disagree with Morrell's
opinion of Stan Getz. Getz's creativity, harmonic sense and smooth tone
made him the ideal American ambassador for Brazilian Bossa Nova.
Getz was a versatile genius and Bossa Nova was only one among many
jazz styles that he mastered. Desmond, Cal Tjader, Clare Fischer
and other jazz giants also did a wonderful job interpreting Bossa Nova.
In conclusion, how could any real jazz fan say that Getz's playing is clunky
and heavy handed? I have never seen those words used to describe his playing
anywhere else. That ought to tell you something.

Other reviewers here have done a better job than I could by submitting informed and eloquent reviews of this fine album. So this isn't a review--it's a suggestion. Amazon offers this album together with Bossa Antigua for $22.97. Even less if you go for the used CD option. Both albums will satisfy those who love the marriage of Cool Jazz with Bossa Nova. Perfect book-ends.

If you like the Dave Brubeck Quartet, there's no reason why you shouldn't like this. Recorded in 1963, a few years after Brubeck's seminal Time Out, Take Ten features Desmond's trademark melodic alto sax playing. There's no piano, but Demond plays along nicely with guitarist Jim Hall. The title track "Take Ten" is similar rhythmically to the classic "Take Five," but doesn't offer merely slight variations on a theme--it takes its own direction. The song titles--"El Prince," "Embarcadero," and "Samba de Orfeu"--should give you an indication of the Latin influence on this CD. Indeed, Take Five is more bossa nova than Time Out was. I have no idea why on earth this album is out of print. But if jazz fans can get a hold on a copy, they will be pleased.

Im from Denmark where im playing guitar in different groups. Im a student at Odense MGK (preschool to conservatory). So i hope i know what im talking about when i say Jim Hall is playing a fantastic, the most incredible i've ever heard, rhythm guitar on this cd. In fact everyone plays incredible. The only thing that innoys me on this record is the way they turned up the volume on the bass. Maybe its just my speakers but i always turn the bass to zero because it distorts at normal settings. And thats not very nice on this smooth jazz record. I never heard about the drummer on this record but he plays well, and im looking in to buying some more records with him. Paul desmond is, as always, great. No need to mention him if you know him. Just buy this record:)
Some of the tunes have alternate takes. Thats a nice feature because thay sound totally different.
If you can overlook the crappy sound on the bass this is a fantastic record. The tune, black orpheus, itlself justifies this record.
This i one of my favourite jazz records.

Though Stan Getz always is credited for being Americas great interpreter of Brazilian bossa, there was always a clunky, heavy handedness to his playing that was at odds with the quiet, understated cool of the original Brazilian material and artists. After a listen to this great recording, there is no question that Paul Desmonds' style, techique and taste are much more appropriate to the genre and leaves one to wonder how much better things would have been, had Paul been teamed up with Jao & Astrud Gilberto instead of Mr. Getz on those early "American" bossa albums. This CD covers some great material and showcases the incredible, subtle finesse and talent of arguably one of the greatest sax players of American jazz. This CD is a steal at this price and is highly recommended.