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Take Ten Import


Price: CDN$ 8.99 & FREE Shipping on orders over CDN$ 25. Details
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Frequently Bought Together

Take Ten + Concerto 40th Edition
Price For Both: CDN$ 17.14


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Product Details

  • Audio CD (Aug. 4 2009)
  • Number of Discs: 1
  • Format: Import
  • Label: RCA
  • ASIN: B002HMHRP0
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (8 customer reviews)

1. Take Ten
2. El Prince
3. Alone Together
4. Embarcadero
5. Theme from "Black Orpheus"
6. Nancy (With the Laughing Face)
7. Samba de Orfeu
8. One I Love (Belongs to Somebody Else)
9. Out of Nowhere
10. Embarcedero (Alternate Take)
11. El Prince (Alternate Take)

Product Description

Product Description

Amazon.ca

Il y a toujours eu un "malentendu Paul Desmond". Voici en effet un saxophoniste qui joua longtemps dans l'ombre de la formation de Dave Brubeck, lui-même pianiste controversé (à tort). Or ce Take Ten de 1963 nous prouve, à l'instar de Easy Living ou de Bossa Antigua, qu'il possédait un jeu merveilleux, à rapprocher de celui de Stan Getz ou de Phil Woods. Les thèmes ("Take Ten", "Embarcadero", "Samba de Orfeu"…) sont magnifiques, et ses partenaires (Jim Hall ou Connie Kay en particulier) sont exemplaires. --Eric Frank --This text refers to an out of print or unavailable edition of this title.

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Customer Reviews

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Most helpful customer reviews

1 of 1 people found the following review helpful By Jerlaw on Jan. 21 2011
Format: Audio CD Verified Purchase
The opening number, "Take Ten" in 5/4 time is just as good, if not better than the famous hit he recorded with Brubeck, "Take Five." Besides this tune, Desmond composed two others on this album:"El Prince"& "Embarcadero." These are not the only tunes he plays in the Latin vein. There's also "Theme From Black Orpheus" & "Samba de Orpheu." Desmond has a definite bent towards Brazilian music, as we have seen on the CD "Bossa Antigua." He is very ably backed up by the great Jim Hall on guitar, one of the most creative jazz guitarists around. Gene Cherico, Eugene Wright, & George Duvivier share the bass duties, with Connie Kay on drums. The music is simply wonderful, & as an added attraction, the liner notes were written by Desmond himself. If this man had not been a jazz musician, he could very easily have made a living as a writer. The music on this album is simply wonderful; Desmond never seems to be at a loss for his melodious solo work. Get this one. You'll be glad you did.
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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
This is a response to the Sept., 2003 review by wsmorrell from Boise,
Idaho. While I agree that this is a great record and that Desmond is one
among the pantheon of jazz immortals, I strongly disagree with Morrell's
opinion of Stan Getz. Getz's creativity, sense of melody and smooth tone
made him the ideal American ambassador for Brazilian Bossa Nova.
Getz was a versatile genius and Bossa Nova was only one among many
jazz styles that he mastered. While Desmond and other jazz giants did
a wonderful job interpreting Bossa Nova, Getz remains unsurpassed in
my opinion. In conclusion, how could any real jazz fan say that Getz's
playing is clunky and heavy handed? I have never seen those words
used to describe his playing anywhere else. That ought to tell you
something.
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By Dr. Bob on Sept. 29 2003
Format: Audio CD
Though Stan Getz always is credited for being Americas great interpreter of Brazilian bossa, there was always a clunky, heavy handedness to his playing that was at odds with the quiet, understated cool of the original Brazilian material and artists. After a listen to this great recording, there is no question that Paul Desmonds' style, techique and taste are much more appropriate to the genre and leaves one to wonder how much better things would have been, had Paul been teamed up with Jao & Astrud Gilberto instead of Mr. Getz on those early "American" bossa albums. This CD covers some great material and showcases the incredible, subtle finesse and talent of arguably one of the greatest sax players of American jazz. This CD is a steal at this price and is highly recommended.
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