保羅．戴斯蒙 / 第十次演奏
Paul Desmond / Take Ten
聆聽薩克斯風手保羅．戴斯蒙(Paul Desmond)的演奏，常讓人忍不住望向天空的雲彩，或將眼神飄往街角的棉花糖攤，就因他那軟綿綿的音色使然。他和玩次中音薩克斯風的史坦．蓋茲(Stan Getz)替所謂的「酷」下了新的註腳，注定在歷史留名。
保羅．戴斯蒙同時也是位創作靈感豐富的作曲家，他替夥伴戴夫．布魯貝克(Dave Brubeck)的專輯《節奏實驗 Time Out》寫下了蓋世無敵經典《Take Five》一曲，不僅讓Brubeck名垂千古，自己也擠身殿堂。而這回輪到戴斯蒙親自掛牌上陣，同行樂手也希望他為自己寫曲「續集」，大家順道沾點光環。於是本來的「五拍才過癮」《Take Five》，演變成了這張唱片裡的「第十次的演奏」《Take Ten》。這是首帶有中東風味的曲子，以十拍〈8/10〉的邏輯進行，相當好聽。合作夥伴包括了吉他手Jim Hall，他在《Embarcadero》一曲裡擁有海洋般寬廣的空間作即興揮灑。來自「現代爵士四重奏」的鼓手Connie Kay也在陣中，搭著戴斯蒙由旋律延伸出的，如繞指柔般的美麗即興，使整張專輯寫意動聽，毫無壓力。
日本Swing Journal雜誌 四顆星評價
Bass：Gene Cherico、Eugene Wright、George Duvivier
本專輯錄製於1961年與1963年，都是由薩克斯風手保羅．戴斯蒙（戴夫．布魯貝克四重奏的經典暢銷名曲《Take Five》就是由他作曲與演奏）所號召當時爵士樂壇最好的菁英一同參予。來自現代爵士樂團(Modern Jazz Quartet)的鼓手Connie Kay把節奏部份支撐得很穩健，讓戴斯蒙與吉姆．霍爾兩人展現默契絕佳的精采對飆，不容錯過。
Theme from "Black Orpheus"
Nancy (With the Laughing Face)
Samba de Orfeu
One I Love (Belongs to Somebody Else)
Out of Nowhere
Embarcedero (Alternate Take)
El Prince (Alternate Take)
The Paul Desmond Quartet (with Jim Hall) - June, 1963
RCA LSP 2569
Original Album Notes
This space is usually occupied, as most hardened collectors know, by the prose stylings of George Avakian. I'm taking his place this time partly because he's up to his jaded ears in Newport tapes and partly because this way we'll have room on the back for pictures. This brings us instantly to the first problem, which is that George frequently starts out by saying all manner of nice things about me which I can't say about myself without blushing,and it's ridiculous to walk around blushing when you are twenty-two years old. Nevertheless I should explain who I am and all, especially for those among you who may have picked up the album because of the cover under the impression that you were getting the score from a Vincent Price movie.
Briefly, then, I'm this saxophone player from the Dave Brubeck Quartet, with which I've been associated since shortly after the Crimean War. You can tell which one is me because when I'm not playing, which is surprisingly often, I'm leaning against the piano. I also have less of a smile than the other fellows. (This is because of the embouchure, or the shape of your mouth, while playing, and is very deceptive. You didn't really think Benny Goodman was all that happy, did you? Nobody's that happy.) I have won several prizes as the world's slowest alto player, as well as a special award in 1961 for quietness.
My compatriot in this venture is Jim Hall, about whom it's difficult to say anything complimentary enough. He's a beautiful musician -- the favorite guitar-picker of many people who agree on little else in music, and he goes to his left very well. Some years ago he was the leading character, by proxy, in a movie starring Tony Curtis (SWEET SMELL OF SUCCESS), a mark of distinction achieved only recently by such other notables as Hugh Hefner and Genghis Khan. He's a sort of combination Pablo Casals and W.C. Fields and hilariously easy to work with except he complains once in a while when I lean on the guitar.
Gene Cherico, who's becoming a thoroughly fantastic bass player, has only been playing bass for the last eight years. (Before that he was a drummer, but a tree fell on him. No kidding, that's the kind of life he leads.) On TAKE TEN he was replaced by my sturdy buoyant hard-driving friend Eugene Wright.
Connie Kay is, of course, the superb drummer from the Modern Jazz Quartet, and if a tree ever falls on him I may just shoot myself. He's like unique.
About the tunes: TAKE TEN is another excursion into 5/4 or 10/8, whichever you prefer. Since writing TAKE FIVE a few years back, a number of other possibilities in the 5 & 10 bag have come to mind from time to time. TAKE TEN is one of them. THEME FROM 'BLACK ORPHEUS' and SAMBA DE ORFEU, along with EMBARCADERO and EL PRINCE, are in a rhythm which by now I suppose should be called bossa antigua. (It's too bad the bossa nova became such a hula-hoop promotion. The original feeling was really a wild, subtle, delicate thing but it got lost there for a while in the avalanche. It's much too musical to be just a fad; it should be a permanent part of the scene. One more color for the long winter night, and all.)
ALONE TOGETHER, NANCY and THE ONE I LOVE are old standards I've always liked. They were arranged, more or less, while we were milling about drinking coffee and all. This approach, while making for a comfortable looseness, usually leads to general apprehension towards the end of the take and frequent disasters, but occasionally you get a fringe benefit. At the end of ALONE TOGETHER, Connie hit the big cymbal a good whang there and it sailed off the drum set and crashed on the floor. After the hysterical laughter subsided we were getting set to tear through it one more time but we listened to it anyway, out of curiosity, and it sounded kind of nice so we left it in. That's one of the few advantages this group has over the MJQ -- if Connie's cymbal hits the floor on an MJQ record date, you by God know it, but with this group you can't really be sure.
George Avakian was benevolently present at all stages of getting this record together, and Bob Prince, doubtless overwhelmed at having a song named after him, appeared frequently with advice and counsel which was totally disregarded.
I would also like to thank my father who discouraged me from playing the violin at an early age.