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Take Ten

4.3 out of 5 stars 41 customer reviews

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Audio CD, February 9, 2009
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TAKE TEN
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Product Details

  • Audio CD (February 9, 2009)
  • Original Release Date: February 9, 2009
  • Number of Discs: 1
  • Label: SBME SPECIAL MKTS.
  • Run Time: 55 minutes
  • ASIN: B002HMHRP0
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (41 customer reviews)
  • Amazon Best Sellers Rank: #22,574 in Music (See Top 100 in Music)

Customer Reviews

Top Customer Reviews

Format: Audio CD
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.
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Format: Audio CD
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!
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Format: Audio CD
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!
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Format: Audio CD
Paul Desmond,the unremarkable alto saxophonist, records yet another set of cool solos where what he does best, lyrical, thoughtful, bird-like playing is showcased. This time he pairs up with guitarist Jim Hall, himself a musical genius. "Take Ten" showcases the lyrical conversations between the alto saxophone and the guitar set against single-note lines. Desmond quotes himself from a Middle Eastern tune he wrote following the release of "Take Five". The CD as a whole is a must have. "Alone Together", one of the more up beat tracks on the CD along with , "The Theme From Black Orpheus", and "The One I love", should be the subject of all Paul Desmond inspired saxophonists becauase they portray the saxophionist at his best playing phrase after phrase of melancholic,beautiful melodies. This CD includes my most favorite take of the Brazilian tune "Black Orpheus". If you are a Paul Desmond fan or if you like cool jazz, this is the CD to buy. I dont believe you can go wrong with Paul Desmond, particularly with this CD.
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Format: Audio CD Verified Purchase
Paul Desmond, i'm finally convinced, was as gifted an alto master as Bird, though he possessed a "story-telling" ability perhaps exceeding that of any other alto player. Certainly, the noticable lack of Desmond imitators is testimony to his singular brilliance. What Paul does on the horn is simply something that can't be taught: he listens to himself with an attentiveness unmatched by few other players on any instrument. Listen to his continually setting up "call-response" patterns with himself. He'll introduce a musical question, then answer it with a response to his own query--but that answer is also a new question demanding its own response. And so goes a Paul Desmond solo, always open to new ideas, new inventions and motifs, inexhaustible little forays into the myriad of possibilities thrown off at any moment by the melodic-chordal-rhythmic nature of the form or song chosen as the vehicle for improvisation. Those moments during which the dialogue is not limited to Paul himself but to Paul and Jim Hall help the listener to gain an even sharper sense of the call-response form that motivates, then sustains, every Desmond narrative.

My only reservation about this disc concerns the stereo mixing. Jim Hall's guitar is so distant in the mix--not to mention, "separated" from the central focus--that it sounds as if it could be an after-dub, if the listener didn't know better. I decided to compare this recording with a couple of others featuring Jim Hall with another musician--with Bill Evans ("Undercurrent") and Sonny Rollins ("The Bridge"). Both are recordings that provide the listener with the sonic image of two players who are, at the least, in the same room with each other.
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