Jazz Collections JC 421 | Paul Desmond (as), Jim Hall (g), Percy Heath, George Duvivier, Gene Cherico, Gene Wright (b), Connie Kay (d) plus orchestra & strings. Rec. September 1959 - June 1965

It’s as if Charlie Parker never existed! Along with fellow altoist Lee Konitz, Paul Desmond almost totally ignored the pervading influence that Bird had over a generation of musicians. If, at times, it was momentarily challenging to distinguish Bird from his many acolytes, this never posed a problem when it came to Paul Desmond: nobody quite possessed the same unique lyricism of this urbane San Franciscan. Desmond’s chosen path was a calculated risk, but from the outset this witty, sophisticated talent had cultivated a truly distinctive voice: a tone as pure as mountain spring water and as pristine as a finely cut diamond. When Brubeck mothballed his quartet in 1967 to concentrate on composing, Desmond undertook a contractual agreement never to record again with any other pianist.

Contrary to belief, this didn’t narrow his options. Prior to the break-up, Desmond’s association with Gerry Mulligan had already produced two excellent albums, while a six-album collaboration with equally gifted guitar master Jim Hall – which actually commenced much earlier in 1959 – is regarded as his most shining hour away from Brubeck.

When ever possible Desmond and Hall chose the MJQ’s Percy Heath (bass) and Connie Kay (drums) as their likeminded accompanists. Where, at times, it seemed as though stylistically Brubeck’s often bombastic pianistics sometimes seemed slightly at odds (but nevertheless intriguing) with Desmond’s unruffled stance, no such tensions were in evidence when Hall linked up with the slender man in the Savile Row suit.

This doesn’t in any way suggests that the outcome was bland, flaccid, safe or akin to background cocktail hour musings. Quite the reverse. In its own quiet, effortless way this union proved to be bang on the money – cliché-free, abundantly modern and deeply passionate. Such is the consummate artistry displayed by both parties that every selection is an example of sheer finesse. In particular, a heart-rendering interpretation of ‘For All We Know’, ‘The Theme From ‘Black Orpheus’, a fresh reading of ‘I Get A Kick Out Of You’ and a subtle stab at ‘Two Degrees East, Three Degrees West’ are just a few of the countless highpoints spread across four immaculate CDs. Ultimately, music of such unimpeachable quality is guaranteed to last a lifetime – and far beyond! Roy Carr