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Condition: Used: Very Good
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Take Ten Import

8 customer reviews

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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)
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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

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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By Paul P. Alisauskas on June 2 2011
Format: Audio CD
My bias: I LOVE Paul Desmond's playing AND almost everything I've ever heard by Jim Hall. So, this recording starts with a terrific head start. It doesn't disappoint.

The languid, tuneful and lyrical playing of both the principals (and this could easily have been labeled a 'Desmond/Hall' recording) is faultless. Plus, they play off each other like cats and nip. The range of material is first rate.

I don't think you have to be a fan of "cool" or the "West Coast" school to get into this, but be forewarned: This is the epitome of SMOOTH (not in the sense of that insipid pop-jazz nonsense). Elegant. Literate. Sophisticated. Exactly like Desmond himself.

For more fun, read Desmond's own liner notes. It's a pity he didn't write (prose) more. His original tunes on this recording make up for that, though.

For anyone just trying to get a taste of P.D.'s phenomenal melodic soloing ability, this would be a wonderful start.
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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
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