Paul Desmond
Paul Desmond | |
|---|---|
 Desmond (right) with Dave Brubeck,c.1962 | |
| Background information | |
| Birth name | Paul Emil Breitenfeld |
| Born | November 25, 1924 San Francisco,California, U.S. |
| Died | May 30, 1977(aged 52) New York City, U.S. |
| Genres | |
| Occupations |
|
| Instruments | |
| Years active | 1940s–1977 |
| Labels | |
| Formerly of | The Dave Brubeck Quartet |
Paul Desmond(bornPaul Emil Breitenfeld;November 25, 1924 – May 30, 1977)[1]was an American jazzalto saxophonistand composer and proponent ofcool jazz.He was a member of theDave Brubeck Quartetand composed that group's biggest hit, "Take Five".
In addition to his work with Brubeck, he led several groups and collaborated withGerry Mulligan,Chet Baker,Jim Hall,andEd Bickert.After years of chain smoking and poor health, Desmond succumbed tolung cancerin 1977 after a tour with Brubeck.
Early life
[edit]Desmond was born Paul Emil Breitenfeld inSan Francisco,California,in 1924, the son of Shirley (née King) and Emil Aron Breitenfeld.[2]His grandfather Sigmund Breitenfeld, a medical doctor, was born inAustriain 1857; he and wife Hermine (née Lewy) emigrated to the US at the end of the 19th century. They had four children (including Emil, father of Paul Emil). Paul Desmond and members of his father's family "frequently speculated as to whether Sigmund or Hermine Breitenfeld had Jewish backgrounds", but they did not identify as Jewish, or observe Jewish traditions.[3]However,Fred Barton,songwriter/arranger and Desmond's cousin, found extensive genealogical proof that both the Breitenfeld and Löwy families wereBohemian Jews.The Breitenfeld family inBohemiaandViennafeatured musicians in every generation throughout the 1800s, 1900s, and to the present day. Desmond's mother, born Shirley King, was of anIrish Catholicfamily.[2]
Desmond's father Emil Breitenfeld was a pianist, organist, arranger, and composer who accompanied silent films in movie theaters and produced musical arrangements for printed publication and for live theatrical productions. DuringWorld War I,while training with the 17th New York Regiment inPlattsburgh, New York,he composedThe Last Long Mile,one of the best-known soldiers' songs of that war.[4]
Desmond's mother Shirley was emotionally unstable throughout his upbringing, and appears to have suffered fromobsessive–compulsive disorderand other mental illnesses.[2]Starting in 1933, Desmond spent nearly five years living with relatives inNew Rochelle, New Yorkdue to his mother's mental health problems.
Desmond began to study theclarinetat the age of twelve, which he continued while atSan Francisco Polytechnic High School.While in high school, Desmond wished to study theviolin,but his father dissuaded him, saying that violin players were "a dime a dozen....with the violin, you'll starve."[2]Desmond developed a talent for writing during high school as well, becoming co-editor of his high school newspaper. In that capacity, he interviewed comedianBob Hopefor his school newspaper during one of Hope's visits to San Francisco. After high school, Desmond enrolled atSan Francisco State Collegewhere he majored inEnglish.At that time, he began playing thealto saxophone,after being influenced by the likes ofLester YoungandCharlie Parker.In his first year of college, Desmond was drafted into theUnited States Armyand joined the Army band while stationed in San Francisco. He spent three years in the military, but his unit was not called to combat.[5]
Following his military discharge, Paul Emil Breitenfeld legally changed his last name from Breitenfeld to Desmond in 1946. He told many stories over the years regarding how he chose the name Desmond, but his biographer Doug Ramsey offers an account from Desmond's friend Hal Strack that the two were listening to theGlenn Millerband singerJohnny Desmondin 1942, and Desmond told Strack "that's such a great name. It's so smooth and yet it's uncommon....If I ever decide I need another name, it's going to be Desmond."[2]
Desmond was married from 1947 to 1949 to Duane Reeves Lamon.[6]He never remarried.[2]
Career
[edit]AfterWorld War II,Desmond started working in theSan Francisco Bay Area,working as a backing musician. He worked occasionally forDave Brubeckat the Geary Cellar in San Francisco. For several weeks, he led a small jazz combo at the Band Box inRedwood Citythat includedDave Brubeck.Desmond had a falling out with Brubeck when he resigned from the Band Box and prevented Brubeck from taking over the residency.[2]In 1950, Desmond joined the band ofJack Finaand toured with Fina for several months, but he returned to California after hearing Brubeck's trio on the radio and deciding that he should repair his relationship with Brubeck and attempt to join Brubeck's increasingly successful band.
At the time, Brubeck and his wife Iola had three small children, and Brubeck had instructed Iola not to let Desmond set foot in the family home. Desmond appeared at Brubeck's San Francisco apartment one day while Dave was in the back yard hanging diapers on a laundry line, and Iola, defying Brubeck's wishes, let Desmond in and took him to Dave. Desmond offered to perform arranging and administrative work for Brubeck's band, and to babysit Brubeck's children, and Brubeck finally relented and agreed to try working with Desmond again.[5]
Dave Brubeck Quartet
[edit]Some people called him the stork—'Cause he would stand on one leg and leaned on the piano. But that... that was when he was playing great. What used to scare me is I'd look at him and it would just be whites in his eyes, wouldn't be any eyeballs.
Dave Brubeck
(PBSinterview withHedrick Smith)[7]
Desmond metDave Brubeckin 1944 in the military. Brubeck was trying out for the 253rd Army band, to which Desmond belonged. After making the cut he—unlike Desmond—was sent overseas in 1944, to Europe. Desmond once toldMarian McPartlandofNational Public Radio'sPiano Jazzthat he was taken aback by the chord changes which Brubeck introduced during that 1944 audition. After Desmond convinced Brubeck to hire him following his stint withJack Fina,the two had a contract drafted (of which Brubeck was the sole signatory); the language forbade Brubeck from firing him, ensured Brubeck's status as group leader, and gave Desmond twenty percent of all profits generated from the quartet.[5][8]That is how the Dave Brubeck Quartet had its start, a group that began in 1951 and ended in December 1967.
The quartet became especially popular with college-age audiences, often performing in college settings, including their ground-breaking 1953 albumJazz at OberlinatOberlin Collegeand at the campuses ofOhio Universityand theUniversity of Michigan.The success of the quartet led to aTimemagazine piece on them in 1954, with the famous cover featuring Brubeck's face.[9]
After drummerJoe Dodgedecided to leave the group,Joe Morellojoined in late 1956 with Desmond's recommendation. Yet with different musical aspiration and taste, their relationship was full of tension. Desmond hoped for a "tinky-boom" background-type drummer while Morello wanted to be recognized and featured. During Morello's first performance with the group, he was featured by Brubeck and received an ovation from the audience for his solo. Desmond resented this, and threatened to leave the group. Brubeck managed to keep both Desmond and Morello in the group but with frictions between them for years. Desmond's grudge against Morello could also be heard during their performance. In their 'Take The ‘A’ Train' performance inHanover,Germany in 1958, for example, Desmond's playing sounded lack-luster and uninterested. After Morello's complex rhythm, Desmond would play even quieter and even dropped for a few bars. In their later years they reconciled and became close friends.[10]
The Dave Brubeck Quartet played until 1967, when Brubeck switched his musical focus from performance to composition[citation needed]and dissolved the group[disputed(for: Desmond wanted to leave) –discuss].During the 1970s Desmond joined Brubeck for several reunion tours, including "Two Generations of Brubeck". Accompanying them were Brubeck's sonsChris Brubeck,Dan Brubeck andDarius Brubeck.In 1976 Desmond played 25 shows in 25 nights with Brubeck, touring the United States by bus.
Other collaborations
[edit]Playing with Desmond and Mulligan was really mind-blowing because they were such heroes for me.
Perry Robinson[11]
Desmond worked several times during his career with baritone saxophonist and band leaderGerry Mulligan.They made two studio albums together (Gerry Mulligan - Paul Desmond Quartet(1957), andTwo of a Mind(1962)). In June 1969 Desmond appeared at theNew Orleans Jazz Festivalwith Gerry Mulligan, with favorable reactions from critics and audience members.[5]During Brubeck'sTwo Generationstours, Desmond and Mulligan shared the stage in 1974. Unlike Brubeck, Mulligan shared much in common with Desmond, such as similar interests and humor, and both men had no shortage of addictions in their lives.[11]
Desmond had a celebrated studio partnership with guitaristJim Hall.Hall played on several albums recorded by Desmond between 1959 and 1963 for Warner Bros. and RCA Victor. After some time spent inactive, Desmond was asked to play the Half Note in New York City in 1971 by Hall. With his special brand of humor, Desmond said that he took the job only because he was nearby and could tumble out of bed to work. The two continued to play at the club to jam-packed audiences. Desmond also joined theModern Jazz Quartetfor a Christmas concert in 1971 at theNew York Town Hall.[5]
Desmond was a guest artist on five tracks byChet Bakerrecorded between 1975 and 1977. These were released on the albumsShe Was Too Good to Me,You Can't Go Home Again,andThe Best Thing For You.Baker and Desmond also appeared together on two tracks included on Jim Hall's 1975Conciertoalbum.
Desmond met Canadian guitaristEd Bickertthrough a recommendation by Jim Hall, and Desmond performed with Bickert at several clubs in the Toronto area during 1974–1975. Desmond featured Bickert on his 1975 studio albumPure Desmond,and the two played together at the 1976EdmontonJazz Festival. Live recordings of that concert and club dates with Bickert performed during 1974-1975 were released during and after Desmond's lifetime.
Personal life
[edit]In their private lives Dave Brubeck and his family were very close to Paul Desmond, though the two men possessed very different personalities. Darius Brubeck recalls thinking that Desmond was his uncle almost into adolescence. Desmond grew especially close to Dave's son Michael, to whom he left his saxophone upon his death. Desmond was also described as awomanizerwho was unable to form (and was uninterested in maintaining) steady relationships with women, though he had no shortage of female companions throughout his life.[12]Desmond is reported to have quipped, upon seeing a former girlfriend on the street, "There she goes, not with a whim but a banker" (a semi-Spoonerismreference to T.S. Eliot's "This is the way the world ends / Not with a bang but a whimper" ). In contrast, Brubeck was deeply religious and a stalwart family man.[8]
I have won several prizes as the world's slowest alto player, as well as a special award in 1961 for quietness.
Paul Desmond[13]
Desmond enjoyed reading works by the thinkers of his generation likeTimothy LearyandJack Kerouac,also dabbling in someLSDusage. He was known to have several addictions, includingDewar'sScotch whiskyandPall Mallcigarettes. In the 1940s and 1950s, Desmond frequently tookamphetamines,and in the 1970s, he was known to use cocaine.[2]His chemical-dependency problems would sometimes drain him of his energy on the road. ClarinetistPerry Robinsonrecalls in his autobiography that Desmond would sometimes need avitamin B12shot just to go on playing during his later career.[11]
Pristine, perfect. One of the great livers of our time. Awash in Dewar's and full of health.
Paul Desmond[13]
Desmond died on May 30, 1977, not of his heavy alcohol habit but of lung cancer, the result of his longtime heavy smoking. He was 52. Never without his humor, after he was diagnosed with cancer he expressed pleasure at the health of his liver. His last concert was with Brubeck in February 1977, in New York City. His fans were unaware of his rapidly declining health. Desmond specified in his will that all proceeds from "Take Five" would go to theRed Crossfollowing his death.[14]Desmond reportedly owned a Baldwin grand piano, which he lent toBradley Cunningham,owner of Bradley's piano bar inGreenwich Village,provided that Cunningham move the large piano back to Desmond's Upper West Side apartment to become part of Desmond's estate. After this long and expensive process, Desmond willed the piano to Cunningham, a characteristic and final prank. The Paul Desmond Papers are held at the Holt-Atherton Special Collections in theUniversity of the PacificLibrary.
Desmond was cremated and his ashes were scattered.
Style
[edit]Desmond produced a light, melodic tone on the alto saxophone, trying to sound, he said, "like a drymartini."With a style that was similar to that ofLee Konitz,one of his influences, he quickly became one of the best-known saxophonists from theWest Coast'scool school of jazz.Much of the success of the classic Brubeck quartet was due to the juxtaposition of his airy style over Brubeck's sometimes relatively heavy,polytonalpiano work.[15]
Desmond's improvisation is praised for its logical structure andlyricism.[16]His gift forimprovisedcounterpointis perhaps most evident on his two albums with baritone saxophonistGerry Mulligan(Mulligan-Desmond QuartetandTwo of a Mind). In his playing Desmond was also notable for his ability to produce extremely high notes, thealtissimoregister, on his saxophone.
Desmond played aSelmerSuper Balanced Actionmodel alto saxophone with an M. C. Gregory model 4A-18M hard rubber mouthpiece, both dating from circa 1951, with a moderately stiff Rico 3 ½ reed.[17]
Legacy
[edit]In 2024, his song “Samba de Orfeu” which he made in 1965 was mentioned in theBoston Globe.[18]
Discography
[edit]With Dave Brubeck
[edit]| Year | Album | Leader | Label |
|---|---|---|---|
| 1950 | Dave Brubeck Octet | Dave Brubeck | Fantasy3239 |
| 1951 | Brubeck/Desmond | Dave Brubeck Quartet | Fantasy 3229 |
| 1952 | Modern Complex Dialogues[live] | Dave Brubeck | Alto AL-711 |
| 1952 | Jazz at Storyville | Dave Brubeck | Fantasy 3240 |
| 1952 | The Dave Brubeck Quartet | Dave Brubeck | Fantasy 3230 |
| 1952 | Jazz at the Blackhawk | Dave Brubeck | Fantasy 3210 |
| 1953 | Jazz at Oberlin | Dave Brubeck | Fantasy 3245 |
| 1953 | The Jackson-Harris Herd/The Dave Brubeck Quartet: Live at the Blue Note, Chicago, March 1953 | Dave Brubeck Quartet,Chubby Jackson–Bill HarrisHerd | Jazz Band (UK) EB-2140 |
| 1953 | Brubeck & Desmond at Wilshire-Ebell | Dave Brubeck | Fantasy 3249 |
| 1953 | Jazz at the College of the Pacific | Dave Brubeck | Fantasy 3223 |
| 1953 | Jazz at the College of the Pacific, Volume 2 | Dave Brubeck | OJC 1076 |
| 1954 | Dave Brubeck at Storyville 1954 | Dave Brubeck | ColumbiaCL-590 |
| 1954 | Jazz Goes to College | Dave Brubeck | Columbia CL-566 |
| 1954 | Brubeck Time | Dave Brubeck | Columbia CL-622 |
| 1954 | Jazz: Red Hot and Cool[live] | Dave Brubeck | Columbia CL-699 |
| 1956, 1957 | Dave Brubeck Quartet Live in 1956–57 Featuring Paul Desmond | Dave Brubeck | Jazz Band (UK) EB-2102 |
| 1956 | Live From Basin Street | Dave Brubeck | Jazz Band (UK) EB-402 |
| 1956 | Dave Brubeck and Jay & Kai at Newport | Dave Brubeck Quartet,J. J. Johnson–Kai WindingQuintet | Columbia CL-932 |
| 1956 | Dave Brubeck Featuring Paul Desmond: Live Together | Dave Brubeck | Joker (Italy) SM-3804; Blue Vox (Switzerland) B/90174 |
| 1956 | Jazz Impressions of the U.S.A. | Dave Brubeck | Columbia CL-984 |
| 1957 | Re-Union | Dave Brubeck/Paul Desmond/Dave Van Kriedt | Fantasy 3268 |
| 1957 | Jazz Goes to Junior College | Dave Brubeck | Columbia CL-1034 |
| 1957 | Dave Digs Disney | Dave Brubeck | Columbia CL-1059 |
| 1958 | The Dave Brubeck Quartet In Europe | Dave Brubeck | Columbia CL-1168 |
| 1958 | Newport 1958: Brubeck Plays Ellington | Dave Brubeck | Columbia CL-1249 |
| 1958 | Jazz Impressions of Eurasia | Dave Brubeck | Columbia CL-1251 |
| 1958 | The Quartet[live] | Dave Brubeck | Europa Jazz (Italy) EJ-1032; Denon (Japan) 33C38-7681 |
| 1959 | Gone with the Wind | Dave Brubeck | Columbia CL-1347/CS-8156 |
| 1959 | Time Out[includes "Take Five"] | Dave Brubeck Quartet | Columbia CL-1397/CS-8192 |
| 1959, 1962 | St. Louis Blues[live] | Dave Brubeck | Moon (Italy) MLP-028 |
| 1959 | Southern Scene | Dave Brubeck | Columbia CL-1439/CS-8235 |
| 1960 | Brubeck and Rushing | Dave Brubeck w/Jimmy Rushing | Columbia CL-1553/CS-8353 |
| 1960 | Bernstein Plays Brubeck Plays Bernstein | Dave Brubeck w/Leonard Bernstein,New York Philharmonic | Columbia CL-1466/CS-8257 |
| 1960 | Tonight Only! | Dave Brubeck w/Carmen McRae | Columbia CL-1609/CS-8409 |
| 1961 | Time Further Out:Miro Reflections | Dave Brubeck | Columbia CL-1690/CS-8490 |
| 1961, 1962 | Countdown:Time in Outer Space | Dave Brubeck | Columbia CL-1775/CS-8575 |
| 1961 | Brandenburg Gate: Revisited | Dave Brubeck | Columbia CL-1963/CS-8763 |
| 1961 | Take Five Live | Dave Brubeck w/ Carmen McRae | Columbia CL-2316/CS-9116 |
| 1962 | Bossa Nova U.S.A. | Dave Brubeck | Columbia CL-1998/CS-8798 |
| 1962 | Brubeck in Amsterdam | Dave Brubeck | Columbia CS-9897 |
| 1963 | At Carnegie Hall | Dave Brubeck Quartet | Columbia C2L-26/C2S-826 [as double LP]; CL-2036/CS-8836 and CL-2037/CS-8837 [as single LPs] |
| 1963 | Time Changes | Dave Brubeck | Columbia CL-2127/CS-8927 |
| 1964 | Jazz Impressions of Japan | Dave Brubeck | Columbia CL-2212/CS-9012 |
| 1964 | Jazz Impressions of New York | Dave Brubeck | Columbia CL-2275/CS-9075 |
| 1964 | In Concert 1964 | Dave Brubeck | Jazz Connoisseur (Israel) JC-003 |
| 1964 | Dave Brubeck in Berlin | Dave Brubeck | CBS (Germany) 62578 |
| 1965 | The Canadian Concert of Dave Brubeck | Dave Brubeck | Can-Am (Canada) 1500 |
| 1965 | Angel Eyes | Dave Brubeck | Columbia CL-2348/CS-9148 |
| 1965 | My Favorite Things | Dave Brubeck | Columbia CL-2437/CS-9237 |
| 1965 | Time In | Dave Brubeck | Columbia CL-2512/CS-9312 |
| 1966 | Dave Brubeck's Greatest Hits[compilation] | Dave Brubeck | Columbia CL-2484/CS-9284 |
| 1966 | Anything Goes! The Dave Brubeck Quartet Plays Cole Porter | Dave Brubeck | Columbia CL-2602/CS-9402 |
| 1966 | Jackpot!Recorded Live in Las Vegas | Dave Brubeck | Columbia CL-2712/CS-9512 |
| 1967 | Bravo! Brubeck![live] | Dave Brubeck | Columbia CL-2695/CS-9495 |
| 1967 | Buried Treasures:Recorded Live in Mexico City | Dave Brubeck | Columbia/Legacy CK-65777 |
| 1967 | Take Five Live | Dave Brubeck | JMY(Italy) 1001 |
| 1967 | The Last Time We Saw Paris[live] | Dave Brubeck | Columbia CL-2872/CS-9672 |
| 1967 | Their Last Time Out: The Unreleased Live Concert, December 26, 1967 | Dave Brubeck Quartet | Columbia/Legacy 886978156228 |
| 1971 | Summit Sessions | Dave Brubeck | Columbia C-30522 |
| 1972 | We're All Together Again for the First Time | Dave Brubeck/Gerry Mulligan/Paul Desmond | AtlanticSD-1641 |
| 1975 | 1975: The Duets | Dave Brubeck/Paul Desmond | Horizon/A&M SP-703 |
| 1976 | 25th Anniversary Reunion | Dave Brubeck Quartet | Horizon/A&M SP-714 |
As bandleader
[edit]| Year | Album | Leader | Label |
|---|---|---|---|
| 1954 | Desmond(AKAPaul Desmond Quintet With The Bill Bates Singers) | Paul Desmond w/ Dick Collins,Dave Van Kriedt | Fantasy 3-21 |
| 1956 | Desmond: Here I AM(AKAThe Paul Desmond Quartet Featuring Don Elliott) | Paul Desmond w/Don Elliott | Fantasy 3225 |
| 1959 | First Place Again | Paul Desmond | Warner Bros.WS-1356 |
| 1962 | Desmond Blue | Paul Desmond w/ strings | RCA VictorLSP-2438 |
| 1962 | Late Lament[reissue ofDesmond Bluewith different cover art, different track running order, plus three previously unreleased tracks from the same sessions] | Paul Desmond | RCA/Bluebird5778-2-RB |
| 1963 | Take Ten | Paul Desmond | RCA Victor LSP-2569 |
| 1965 | Glad to Be Unhappy | Paul Desmond featuring Jim Hall | RCA Victor LSP-3407 |
| 1965 | Bossa Antigua | Paul Desmond featuring Jim Hall | RCA Victor LSP-3320 |
| 1966 | Easy Living | Paul Desmond featuring Jim Hall | RCA Victor LSP-3480 |
| 1969 | Summertime | Paul Desmond | A&M/CTISP-3015 |
| 1969 | From the Hot Afternoon | Paul Desmond | A&M/CTI SP-3024 |
| 1970 | Bridge over Troubled Water | Paul Desmond | A&M/CTI SP-3032 |
| 1974 | Skylark | Paul Desmond | CTI 6039 |
| 1974 | Pure Desmond | Paul Desmond | CTI 6059 |
| 1975 | Live | Paul Desmond Quartet | Horizon/A&M SP-850 |
| 1976 | Paul Desmond | Paul Desmond w/ Ed Bickert | Artists HouseAH-2 |
| 1989 | The Complete Recordings of the Paul Desmond Quartet With Jim Hall[posthumous box set][19] | Paul Desmond w/ Jim Hall | MosaicMR6-120 |
| 1992 | Like Someone in Love[recorded 1975] | Paul Desmond Quartet | Telarc83319 |
| 2020 | The Complete 1975 Toronto Recordings- 7 CD box[recorded 1975] | Paul Desmond Quartet | MosaicMD7-269 |
With Gerry Mulligan
[edit]| Year | Album | Leader | Label |
|---|---|---|---|
| 1954 | Gerry Mulligan/Paul Desmond[reissues] | Paul Desmond Quintet/Quartet,Gerry MulliganQuartet | Fantasy 3220 |
| 1957 | Blues in Time(AKAGerry Mulligan–Paul Desmond Quartet) | Paul Desmond w/ Gerry Mulligan | VerveMGV-8246 |
| 1962 | Two of a Mind | Paul Desmond w/ Gerry Mulligan | RCA Victor LPM-2624 |
With Chet Baker
[edit]| Year | Album | Leader | Label |
|---|---|---|---|
| 1955 | Chet Baker Quartet Plus: The Newport Years, Vol. 1[live] | Chet Baker/Clifford Brown/ Gerry Mulligan / Dave Brubeck | Philology (Italy) W-51 |
| 1974 | She Was Too Good to Me | Chet Baker | CTI 6050 |
| 1975 | Concierto | Jim Hall/ Chet Baker | CTI 6060 |
| 1977 | You Can't Go Home Again | Chet Baker | Horizon/A&M SP-726 |
| 1977 | The Best Thing for You | Chet Baker | A&M 0832 |
| 1992 | Together: The Complete Studio Recordings | Chet Baker / Paul Desmond | Epic 472984 2 |
Other
[edit]| Year | Album | Leader | Label |
|---|---|---|---|
| 1951 | "How Long, Baby How Long, Pt. 1" // "How Long, Baby How Long, Pt. 2" [78rpm 10 "disc] | Jack Sheedy Sextet | Coronet#109 |
| 1951 | "The Man I Love" // "Down In Honkytonk Town" [78rpm 10 "disc] | Jack Sheedy Sextet | Coronet #110 |
| 1971 | The Only Recorded Performance of Paul Desmond WithThe Modern Jazz Quartet[live] | Paul Desmond w/The Modern Jazz Quartet | Finesse/Columbia FW-37487 |
| 1973 | Giant Box | Don Sebesky | CTI 6031/32 |
| 1975 | Concierto | Jim Hall | CTI 6060 |
| 1977 | Watermark | Art Garfunkel | Columbia JC-34975 |
| 1996 | Feeling Blue | compilation | Camden 74321 400552 |
References
[edit]- ^"Final Bar" (obituary). Down Beat, 11 August 1977, 11.
- ^abcdefghRamsey, Doug (2005).Take Five: The Public and Private Lives of Paul Desmond.Parkside Publications.ISBN9780961726676.
- ^Ramsey, Doug (2004).Take Five: The Public and Private Lives of Paul Desmond.Seattle, Wa.: Parkside Publications.ISBN978-0961726676.
- ^The Singing Program of World War I: The Crusade for a Singing Army Author(s): E. Christina Chang Source: Journal of Historical Research in Music Education, Vol. 23, No. 1 (Oct., 2001), pp. 19-45 Published by: Sage Publications, Inc.
- ^abcdeDoyle, Brian (2004).Spirited Men: Story, Soul, and Substance.Cowley Publications.pp. 73–74.ISBN1-56101-258-0.
- ^Born 30 August 1927 in Los Angeles. Later married Willis Dean Kaye (died 1986); they had one child, Christopher (1956-2014). She died in 2013."Duane Reeves LaMon"
- ^Smith, Hedrick (June 4, 2007)."Dave on Paul Desmond and the Quartet".PBS.
- ^abLees, Gene (2001).Cats of Any Color: Jazz Black and White.Da Capo Press. pp.55–57.ISBN0-306-80950-8.
- ^Martin, Henry (2004).Essential Jazz: The First 100 Years.Thomson Wadsworth.p. 314.ISBN0-534-63810-4.
- ^Tarik (October 6, 2017)."Desmond Vs. Drums, or Adventures in Tinky-Boom".It's A Raggy Waltz.RetrievedAugust 3,2022.
- ^abcRobinson, Perry(2002).Perry Robinson: The Traveler.iUniverse. pp. 190–191.ISBN0-595-21538-6.
- ^Gioia, Ted (1998).West Coast Jazz,Ch 4: "Dave Brubeck and Modern Jazz in San Francisco"; University of California Press, 1998ISBN0520217292
- ^ab"Paul Desmond-isms".September 19, 2005.RetrievedSeptember 22,2013.
- ^Gioia, Ted(September 27, 2012).The Jazz Standards: A Guide to the Repertoire.Oxford University Press. p. 419.ISBN9780199937400.
When Paul Desmond passed away in 1977, his will stipulated that royalties from this song and his other compositions go to the American Red Cross. Since then, the Red Cross has received more than $6 million from Desmond's bequest.
- ^Owens, Thomas (1995).Bebop: The Music and Its Players.Oxford University Press.p. 68.ISBN0-19-510651-2.
- ^"Paul Desmond was revered for the pure, gentle tone of his alto saxophone, and the elegant lyricism of his improvisations".November 24, 2017.RetrievedAugust 13,2022.
- ^Ramsey, Doug (2005).Take Five: The Public and Private Lives of Paul Desmond.Seattle: Parkside Publications. pp. 102, 118, 216, 292.ISBN0-9617266-7-9.
- ^Stabiner, Karen (March 15, 2024)."Spotify gave me back my father".BostonGlobe.com.Archived fromthe originalon March 15, 2024.RetrievedMarch 28,2024.
- ^Records, Mosaic (May 4, 2021)."Paul Desmond - 1959-65 Quartet Recordings - Mosaic Records".Mosaic Records - Home for Jazz fans!.RetrievedJuly 21,2021.
- 1924 births
- 1977 deaths
- American people of Czech-Jewish descent
- American people of Irish descent
- American jazz alto saxophonists
- American male saxophonists
- United States Army personnel of World War II
- Cool jazz saxophonists
- Mainstream jazz saxophonists
- Composers from San Francisco
- West Coast jazz saxophonists
- RCA Victor artists
- United States Army soldiers
- Jazz musicians from San Francisco
- 20th-century American composers
- 20th-century American saxophonists
- Deaths from lung cancer in New York (state)
- United States Army Band musicians
- Bebop saxophonists
- San Francisco State University alumni
- American male jazz composers
- American jazz composers
- 20th-century American male musicians
- Dave Brubeck Quartet members
- 20th-century jazz composers
- CTI Records artists