Cover (Late Lament:Paul Desmond)

Cuts # 1-9 from RCA LSP2438 Desmond Blue - 9, 10/61 - N.Y.C.
Cuts # 10-12, previously unreleased - 3/62 - N.Y.C.
 RCA/Bluebird 5778-2-RB

 

  1. My Funny Valentine (Rodgers-Hart) 3:48
  2. Late Lament (Desmond) 4:07
  3. Like Someone In Love (Burke-Van Heusen) 4:09
  4. I Should Care 3:48
  5. Then I'll Be Tired of You 4:08
  6. Ill Wind 3:46
  7. Desmond Blue (Desmond) 3:36
  8. Body and Soul (Green-Sour-Heyman) 4:50
  9. I've Got You Under My Skin 4:49
  10. Advise and Consent 1:59
  11. Autumn Leaves (Cosma-Mercer-Prevert) 5:40
  12. Imagination 4:02

Paul Desmond/Alto Sax
Jim Hall/Guitar (1-4)
Gene Cherico/Bass (1)
Milt Hinton/Bass (2-12)
Connie Kay/Drums (1)
Robert Thomas/Drums/Percussion/Strings (2-9)
Osie Johnson/Drums/Strings (10-12)
Albert Richman/French Horn (1-9)
Tony Miranda/French Horn (10-12)
George Marge, Robert Doty/Woodwinds (1)
Phil Bodner/Woodwinds (2-4, 10-12)
Romeo Penque/Woodwinds (2-12)
Stan Webb/Woodwinds (5-19)
Gene Bianco/Harp (1)
Gloria Agostini/Harp (2-12)
Produced by George Avakian

 

allmusic review

by Richard S. Ginell

Newly signed with RCA Victor not long after the Brubeck Quartet hit the big time with his composition "Take Five," Desmond's initial entry was a lavish session with strings, horn, two winds, and harp arranged and conducted by Bob Prince. Originally called Desmond Blue, the album was renamed Late Lament (after its second track) when reissued in 1987, now presented in chronological sequence with a then-unissued bonus track, "Imagination," from a session held six months later. The arrangements are actually quite creative when they move around -- the opening of "I Should Care" is quite stunning -- yet the orchestrations are often omnipresent throughout entire tracks, though mixed down in the background. Much of the time, Desmond just lays back and muses dreamily, sparing in his choice of notes, relaxing against the cushion. Yet he still comes up with some original ideas that will zap you; his wry composition "Desmond Blue" is full of them and "Like Someone in Love" has a particularly winsome solo. Jim Hall sits in on several of the ten tracks, poking his head through the cushion now and then for an understated solo. Though the critical response was predictably dire and there is more inventive solo Desmond around, this is an undeniably classy entry in the make-out jazz genre.

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