|Jim Hall and Paul Desmond|
Tuesday, February 28, 2017
Paul Desmond with Strings, 1961
There are many adjectives one can use to describe Desmond Blue, altoist Paul Desmond's 1961 date with strings subtly arranged by Bob Prince. The album is moody, soft, and restrained. Desmond's playing is imaginative and soothing, and Prince's string arrangements serve as a sort of cushion, never getting in the way of the soloist. But, most of all, the adjective that comes most readily to mind when listening to Desmond Blue is beautiful, and sometimes one is simply in the mood to listen to jazz that is beautiful. If that's the case, then one can't go wrong with this album. Best remembered for his association with pianist Dave Brubeck, of whose very successful quartet he was an integral part in the 1950s and '60s, Desmond cut several excellent albums under his own name throughout his collaboration with Brubeck. Six of these were recorded for RCA Victor in the sixties, and fortunately, they were reissued in 2012 as a very attractive and affordable box set that reproduces the format of the original LPs, though adding some bonus tracks. And the first of these albums chronologically is Desmond Blue.
Recorded in New York City over the course of several sessions in September and October 1961, Desmond Blue was released in 1962 and, as its cover proudly states, it presents "a great saxophonist in a new setting." This new setting is, of course, Desmond accompanied by a string orchestra and performing a selection of well-known standards and two originals, "Desmond Blue" and "Late Lament," both of them included on the first side of the record. As his discography clearly shows, Desmond was always very fond of standards, and the ones he chose on this occasion seem tailor-made for his delicate, often understated style. He approaches classic ballads such as "My Funny Valentine," "Then I'll Be Tired of You," and "I Should Care" with great lyricism. Yet, as we can hear on "I've Got You Under My Skin" and "Like Someone in Love," he also sounds comfortable varying the tempo and lending some diversity to the album. Jim Hall guests on guitar on four of the tracks, blending in with the orchestra as perfectly as Desmond himself and adding an extra touch of class to the proceedings. The result is a magnificent album of the kind that is agreeable to the ears and soothing to the spirit, an album that could most appropriately be described as beautiful.