This is Paul Desmond in "beast mode" to me. Not in the traditional way how they use it, mostly with fast and harmonic complex language and super driving intensity. For Desmond it was always about melody development, beauty of sound - the steam is rising from his saxophone here - and the total spontaneity of the moment. The only "licks" you can accuse him off, are the physical reed licks. Anyways, hope you dig that. For me this is pure beauty and bliss. There is not quite anybody like Desmond. He really is a game of his own. "Like" the video if you want yo drive the algorhythm a bit so more people get to see this, and surely subscribe - if you haven't - for weekly new transcriptions, of which Desmond is a quite regular.
Paul Desmond was a genius and not given anywhere near the credit he deserved. He was one of the most "compositional" improvisers ever and possessed an amazing harmonic language. He often sounded atonal but when you analysed his solos, those "atonal' notes were basically altered extensions of chords that everybody uses. He had a way of turning them into the most angular notes you've ever heard.
Dave Brubeck would often play ‘distorted chords’, to resolve them in upcoming bars, but Paul Desmond never distorts the melody to fix it a few bars later or in the second passage.
@@joselekiwi5695 The part at bar 40 I would guess he's referring to, and that place (it's the only place though) is super hip to say the least. First in that bar he is "in" coloring with the F triad, which add's to the dorian sound. Then he goes down a half step to an E major7 arpeggio, creating about the most tension possible from that point. But Desmond wouldn't be desmond if he didn't find a perfect way to conclude it to the next chord, the Cm7 with the F (referring to the F triad again) and the Bb, which is a chord tone. Desmond could hide it perfectly with his lyrical pure sound and his clear sequences, but man, did he go outside in the hippest of ways at times... This previous sentence is practically why I'm obsessed with him, that's a combination you rarely see :)
You are right! This is the original, pure Desmond sound! I like how he taps his fingers on the keys along with the rhythm. It seems like he is full of melodic ideas but he follows the rhythm and he delivers one melody at a time! Always thankful for your videos!
That Sound of a Dry Martini...you pour sir and we all shall drink...ahhhhhhhhh! I once found a fancy looking aspirator at an antique shop that I bought strictly for Vermouth. Made a big production of using it to make martinis for guests. The more dry the person wanted the martini, the further from the glass I aimed the spray. Once I walked into the next room. Lots of laughs!
❣ Simply amazing what Paul does with this sweet, delicate tune. Dave's part later in the piece returns to the many of the sounds of a Koto, while first Paul explores many ways to modernize this imperial expressive instrument. Delicious.
I think I'm going to have to do the piano transcription now. I can't believe I've never heard this track before. This is an amazing video and will definitely aid in the transcription. I'm obsessed with this song and now I need to transcribe the Live at the Blue Note 1993 version too where Brubeck is channeling Debussy in a 3 min intro solo.
@@SharpElevenMusic My favourite Desmond solo is the one he plays on One Song. But like you say, his unique ability lays in sculpting his solos all around melodies. I can actually sing along all of his solos note for note (only in the car ofcourse). :D
Lovely!!! Paul on a minor blues at his most creative open canvas. The enigmatic jazz man. I love the bachian ornamental phrases. J.S.B. would have loved Paul's playing. There are a number of significantly different versions of this on y.t.
Love the way he uses alt. front F fingering when playing high F (and high E often) to get a more solid, pure ringing tone on high F. And at 1:26 he outlines an E Maj 7 chord over the G minor chord, which shouldn't work, but somehow does.
1:49 Perfect Dynamics there. It may seem like a not very important detail but that control over air pressure and reed is sure quite difficult and I dont even play sax.
Paul Desmond was not “improvising lines” by beating the dead horse as most others did. Unlike many others, to fill up "blanks", he did not need borrowing notes from harmonic chords, play arpeggios, scales, "licks", etc. In serious music composition, that is the "filling material" for beginners. Most jazz players were and are bad original composers and average players. But Paul Desmond was truly a mature Classical composer working in the field of American jazz. He was developing original melodic lines, on the spot, never filling up “gaps” with beginner's approaches or nonsense notes. And his tone was so magnificent, his setup well balanced, that he could confidently play all long notes, no matter in what register, for sheer emotional fulfilment. He was taking emotional lead of the piece. Do not fool yourselves; most saxophonists do not sound that good - at all. But those saxophonists who had a great talent for sumptuous tone production, were emphasising that aspect of playing. Say Stan Getz, Ben Webster, Paul Gonsalves, Yusef Lateef, Johnny Hodges, Paul Desmond, were masters in tone production. That talent is very rare. Their long notes and accents tell more than endless scales of ridiculously fast arpeggios of average players, who develop the technique to compensate their shortcomings on many other ends. Paul Desmond was an excellent composer, and an excellent talent for playing beautifully. Very rare individual.
Great analysis there Zvonimir! And yes, I really think of Desmond more like a "classical jazz composer" too. He stated with as much words in a letter to his father that he fiercely tried to avoid the bebop where everybody was jumping on in the 50s, while simultaneously lovin gBird. I feel he didn't get nearly enough credit in the jazz saxophone community as he derserved, partly because most serieous jazz musician get anoyed by Take Five I'm guessing.
Hi Justin! It's been a bit on a hold the last few months I'm afraid, due to lack of time. But I hope to resume it in the coming week. Tbh, this RUclips channel and the Desmond book is so much fun, but it's thing on the side, so trying to make a living kinda always pushes it a bit to that back. Hard to predict when it will be finished, but I'm hoping towards the end of 2022 now.
Hi Sébastien, I don't think so. This was recorded straight for the Belgian tv, so it's not being made into an LP. But the total televised concert is a superb highlight, the Dave Brubeck Quartet at its best
@@SharpElevenMusic too bad 😔 This is the best version of koto song I've heard ! I'll definitely follow your advice and watch the full performance ☺️ Thanks !
![Estas Tonne - Perception [ Live in Zurich ]](http://i.ytimg.com/vi/Kbkc_0Ns6q0/mqdefault.jpg)
This is Paul Desmond in "beast mode" to me. Not in the traditional way how they use it, mostly with fast and harmonic complex language and super driving intensity. For Desmond it was always about melody development, beauty of sound - the steam is rising from his saxophone here - and the total spontaneity of the moment. The only "licks" you can accuse him off, are the physical reed licks.
Anyways, hope you dig that. For me this is pure beauty and bliss. There is not quite anybody like Desmond. He really is a game of his own.
"Like" the video if you want yo drive the algorhythm a bit so more people get to see this, and surely subscribe - if you haven't - for weekly new transcriptions, of which Desmond is a quite regular.
I feel as if he is painting the room with sound and pausing to listen to the colour of the phrase reverberating.
Yes,he was very unique.Great musician.
Paul Desmond was a genius and not given anywhere near the credit he deserved. He was one of the most "compositional" improvisers ever and possessed an amazing harmonic language. He often sounded atonal but when you analysed his solos, those "atonal' notes were basically altered extensions of chords that everybody uses. He had a way of turning them into the most angular notes you've ever heard.
Can you give me an example in which desmond sounded atonal?
@@joselekiwi5695 Ikr it does not sound atonal at all to me
Dave Brubeck would often play ‘distorted chords’, to resolve them in upcoming bars, but Paul Desmond never distorts the melody to fix it a few bars later or in the second passage.
@@joselekiwi5695 The part at bar 40 I would guess he's referring to, and that place (it's the only place though) is super hip to say the least. First in that bar he is "in" coloring with the F triad, which add's to the dorian sound. Then he goes down a half step to an E major7 arpeggio, creating about the most tension possible from that point. But Desmond wouldn't be desmond if he didn't find a perfect way to conclude it to the next chord, the Cm7 with the F (referring to the F triad again) and the Bb, which is a chord tone. Desmond could hide it perfectly with his lyrical pure sound and his clear sequences, but man, did he go outside in the hippest of ways at times... This previous sentence is practically why I'm obsessed with him, that's a combination you rarely see :)
In a way he was almost the true jazz impressionist
It's amazing how he played "jazz" lines but not from the bebop idiom. One of the very few players with that distinction during that era.
You are right! This is the original, pure Desmond sound! I like how he taps his fingers on the keys along with the rhythm. It seems like he is full of melodic ideas but he follows the rhythm and he delivers one melody at a time! Always thankful for your videos!
how many guys played altissimo like that in those days, not too many...
That Sound of a Dry Martini...you pour sir and we all shall drink...ahhhhhhhhh!
I once found a fancy looking aspirator at an antique shop that I bought strictly for Vermouth. Made a big production of using it to make martinis for guests. The more dry the person wanted the martini, the further from the glass I aimed the spray. Once I walked into the next room. Lots of laughs!
Such a unique sound. It stays with you long after the video is finished. Thanks!
❣ Simply amazing what Paul does with this sweet, delicate tune. Dave's part later in the piece returns to the many of the sounds of a Koto, while first Paul explores many ways to modernize this imperial expressive instrument. Delicious.
It’s amazing the range of dynamics he maintains while staying relatively pianissimo, via phrase length.
He was such a great talent. I admire him, and I'm grateful for him.
Thank you for uploading this.
that´s so overwhelmingly beautiful!!!
Thank you very much for transcribing this masterpiece! Glad there are people who liked it as I do! God Bless Desmond and his Pure sound !
That sound. Yeah.
Sublime.
I appreciate that "lick" was included in the transcription.
I think his concert on Belgian television should be seen as a national treasure
What a gem of a solo. Really nice work on the video/transcription too 👌🏼
Well Jorre this is a super good find. Listen how smooth and melodic Paul is. Love it. Thanks for your work and sharing this.!
Paul's approach is totally unique, just loved this version :) what a beautiful mood and sound he produces here. Glad you dig that Cy!
I think I'm going to have to do the piano transcription now. I can't believe I've never heard this track before.
This is an amazing video and will definitely aid in the transcription. I'm obsessed with this song and now I need to transcribe the Live at the Blue Note 1993 version too where Brubeck is channeling Debussy in a 3 min intro solo.
The first two videos by you, recommended to me were of my two all-time favourite alto players, Maceo and Desmond. Subscribed!
Oh great to hear! Thanks Arno 🙌
@@SharpElevenMusic My favourite Desmond solo is the one he plays on One Song. But like you say, his unique ability lays in sculpting his solos all around melodies. I can actually sing along all of his solos note for note (only in the car ofcourse). :D
Great solo!
Stunning recording, thanks for the transcription.
Este solo es demasiado bueno.
Brutal!!!!
Lovely!!!
Paul on a minor blues at his most creative open canvas.
The enigmatic jazz man. I love the bachian ornamental phrases. J.S.B. would have loved Paul's playing. There are a number of significantly different versions of this on y.t.
Great work again. I also love your aesthetic!
Wow... 👏👏👏
Love the way he uses alt. front F fingering when playing high F (and high E often) to get a more solid, pure ringing tone on high F. And at 1:26 he outlines an E Maj 7 chord over the G minor chord, which shouldn't work, but somehow does.
beautiful - thank you!
Wonderful playing unique.
How could you know my favourite Solo of PD…..!?!
Cause I'm a mindreader... or perhaps that this was my 17th Desmond transcription ;)
Excellent
Whitney Balliet, of the New Yorker, described Desmond’s sound, I believe. Great writing describing great playing.
Sounds like medium cut and plate reverb. Cool sound. Might try.
1:49
Perfect Dynamics there.
It may seem like a not very important detail but that control over air pressure and reed is sure quite difficult and I dont even play sax.
Paul Desmond was not “improvising lines” by beating the dead horse as most others did. Unlike many others, to fill up "blanks", he did not need borrowing notes from harmonic chords, play arpeggios, scales, "licks", etc. In serious music composition, that is the "filling material" for beginners. Most jazz players were and are bad original composers and average players.
But Paul Desmond was truly a mature Classical composer working in the field of American jazz. He was developing original melodic lines, on the spot, never filling up “gaps” with beginner's approaches or nonsense notes. And his tone was so magnificent, his setup well balanced, that he could confidently play all long notes, no matter in what register, for sheer emotional fulfilment. He was taking emotional lead of the piece.
Do not fool yourselves; most saxophonists do not sound that good - at all. But those saxophonists who had a great talent for sumptuous tone production, were emphasising that aspect of playing. Say Stan Getz, Ben Webster, Paul Gonsalves, Yusef Lateef, Johnny Hodges, Paul Desmond, were masters in tone production. That talent is very rare. Their long notes and accents tell more than endless scales of ridiculously fast arpeggios of average players, who develop the technique to compensate their shortcomings on many other ends. Paul Desmond was an excellent composer, and an excellent talent for playing beautifully. Very rare individual.
Great analysis there Zvonimir! And yes, I really think of Desmond more like a "classical jazz composer" too. He stated with as much words in a letter to his father that he fiercely tried to avoid the bebop where everybody was jumping on in the 50s, while simultaneously lovin gBird. I feel he didn't get nearly enough credit in the jazz saxophone community as he derserved, partly because most serieous jazz musician get anoyed by Take Five I'm guessing.
So good! BTW, how is the Desmond method book coming along? Is still in the works?
Hi Justin! It's been a bit on a hold the last few months I'm afraid, due to lack of time. But I hope to resume it in the coming week. Tbh, this RUclips channel and the Desmond book is so much fun, but it's thing on the side, so trying to make a living kinda always pushes it a bit to that back.
Hard to predict when it will be finished, but I'm hoping towards the end of 2022 now.
so that is what transcribing licks really means...
Any chance whe could get that transcription?:)
Double dry martini with a lot of falling snow over the window...
690번째
좋아요
꾸욱 눌렸습니다
演奏
잘들었습니다
감사합니다.
Can we find this version on a recording ?
Hi Sébastien, I don't think so. This was recorded straight for the Belgian tv, so it's not being made into an LP. But the total televised concert is a superb highlight, the Dave Brubeck Quartet at its best
@@SharpElevenMusic too bad 😔 This is the best version of koto song I've heard ! I'll definitely follow your advice and watch the full performance ☺️ Thanks !
wonderful!! Easy video ranking = Promo-SM!!!