2 LP on 1 CD
## 1 - 10 'Bossa Antigua'. recorded June 24, 25, August 13, 14, 1969 featuring Jim Hall
Bossa Antigua picks up the samba-based rim shots of drummer Connie Kay on Take Ten and tries to make a whole new record out of them. While the title track duplicates the original percolating groove of "El Prince," other tracks like "Samba Cantina" revert to a typical bossa nova rhythm of the period, which leads one to conclude that "bossa antigua" is merely whatever Desmond says it is. Of the album's two non-originals, "The Night Has a Thousand Eyes," of course, is made-to-order for Desmond's wistful, sophisticated temperament, and he delivers exactly what a Desmond devotee would expect and love; and "A Ship Without a Sail" has some memorable off-the-cuff solo ideas. Jim Hall is around again to lend subtle rhythm support and low-key savvy in his solos, and like many Desmond companions of this period, he makes a fine sparring partner in the contrapuntal exchanges. The Brubeck Quartet's Gene Wright again lends a sturdy hand on bass. The playing is wonderful throughout, though just missing the full-throttle inspiration of Take Ten.
All Music Guide
## 11 - 18 'From The Hot Afternoon' - Paul Desmond featuring Jim Hall
Paul Desmond's first genuine all-Brazilian album under the Creed Taylor signature was a beauty, a collection of songs by the then-moderately known Edu Lobo and the emerging giant Milton Nascimento, then only in his early twenties. All Desmond has to do is sit back and ride the Brazilian grooves while lyrically ruminating on whatever pops into his head. It sounds so effortless - until you try it yourself. The swirling, often gorgeous orchestral arrangements are by Don Sebesky (one CD edition mistakenly gives Claus Ogerman credit on the cover), Airto Moreira leads the samba-flavored percussion forces, and Lobo and his wife Wanda de Sah appear on three of Lobo's four songs. Lobo's "To Say Goodbye," "Circles," and "Martha and Romao" have exactly the brand of wistful sadness that Desmond could communicate so well; on the former, de Sah has to sing well below the register with which she is comfortable, and the strain is painfully obvious. Some of Nascimento's best early tunes are here, including the tense title track, the popping "Catavento," and "Canto Latino." "Catavento" inspires a particularly inventive solo from Desmond where he pulls out one of his age-old tricks, quoting "St. Thomas." The recent Verve By Request edition adds no less than six alternate takes to the package.
All Music Guide
========= from the cover ==========
Paul Desmond: From the hot afternoon
Paul Desmond has two obvious things in common with modern Brazilian popular music lyricism and the long, legato line. Whether the Brazilians absorbed any of their qualites from him is a question that musicology will probably leave forever unanswered and I don't know either. I know only that by their own statement the Brazilian musicians of the late 1950's and early 1960's were influenced by what was then Hnown as West Coast Jazz-a dubious term from either stylistic or geographical viewpoints. But I guess Paul would have to admit to being that rara awis the honest-to-goodness West Coast Jazz Musician, the hornmanus californiensis. He came from San Francisco tong before it was hip to be from there, and he was playing with a brilliant quicksilver lyricism long before bossa met nova. And there you are, aren't you?
I have been asked to say a few words on behalf of Paul Desmond, Paul has asked me not to. He asked me to discuss instead Edu Lobo and Milton Nascimento, who wrote all the tunes in this album. (Not together; each works separately). They are two of Brazil's most gifted younger composers- composers of the post-bossa nova wave of talent. Brazil produces composers almost as readily as coffee beans maybe that's what they call a two crop economy?
Edu Lobo's father, I am told, is a music critic. So am I. As a redeeming feature, I can always point out that I have also produced some pretty good songs but Edu Lobo's father can always point out that he produced Edu Lobo. Edu Lobo is a guitarist and singer of great ability. Fascinated by music from the north of Brazil, he has created a kind of song that is all his own, a kind of song with a genuinely new flavor.
And so has Milton Nascimento. Milton, who is in his early 20's is also a guitarist and singer and composer. (Of course, all Brazilians are guitarists and singers and composers, excepting perhaps those who are generals and coffee-bean growers, and even some of them are guitarists and singers and composers.) Milton comes from Rio de Janeiro. Self-taught for the most part he makes songs that have a haunting, folkloric flavor.
You will hear, all through this album, the work of a remarkable young drummer named Airto Moreira. Airto has a magnificently airy style and a mastery of textures and subtly shifting accentuations. You'll also hear the guitar work of Dorio Ferreira, another unique musician. Dorio plays rhythm guitar of a curious in-close-to-the-chest tightness that I have always found very exciting.
And you will hear the writing of Don Sebesky is an arranger whose usic has grown enorously in the last years, and his work here is the most stimulating, I think, that he's done (at least in this musical idiom) to date.
There are voices on three tracks-To Say Goodbye, Circles and Crystal illusions. They belong to Edu Lobo and Wanda De Sah. In the making of To Say Goodbye, a fascinating accident occurred. The key of the song was set a step or so too low for Miss De Sah. By the time of the record date, it was too late to change it, and Miss De Sah was pushed so far below her normal register that she could barely produce a sound. Hearing a playback, Paul insisted on keeping this track in the album. A sense of tragedy infuses her sound here and Paul found it deeply moving, as you may too.
And now a few words on behalf of Paul Desmond whether he likes it or not.
I think Paul is one of the most original musicians in the whole history of jazz. I'm always fascinated by the way his mind works. As skillful with words as he is with notes, he expresses himself in odd and unexpected ways; he never thinks the obvious thought. And he has a way of adding little tags to the endof a thought that turn an ordinary remark into something fresh and often significant. When I ran into him on the street one day, not long before he left the Dave Brubeck quartet, I said, "Are you working much?" He said, "We're working as if it's going out of style-which of course it is." That last phrase, the extension of that sentence, was funny; it was also a dry, sardonic comment on the economic depression that was then affecting most jazzmen. Paul's mind turns interesting corners and he explores funny little musical side-streets, streets of great charm and humor and, at times wistful beauty.
I asked him about his tone, which s imitated all over the world. What's the secret of it? "I honestly don't know," he said. "It has something to do with the fact that I play illegally." Then he went into a denigration of his own technique, which was ridiculous. His technique is unorthodox and he is a unique technician. He has played very little in the two years since he left the Brubeck group, and yet his playing apparently has improved. This appears to puzzle him. (It certainly puzzles me.) He mentioned his intonation. "For some reason, it seems to have gotten better," he said. (It was always so good that I can't notice a difference. I'll have to take his word for it.)
But back to that question of his tone, and how he developed it.
"I had the vague idea that I wanted to sound like a dry martini, he said.
And that is a real Paul Desmondism. Once you think about it, that is the sound he gets. Paul Desmond sounds like a dry artini. An imaginative, intelligent, astonishinglyarticulate, very dry martini.
There is not a musicians alive ladmire more.