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Pure Desmond Extra tracks

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Includes FREE MP3 version of this album.
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Pure Desmond + Blues In Time + Feeling Blue
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Product details

  • Audio CD (15 Sep 2003)
  • Number of Discs: 1
  • Format: Extra tracks
  • Label: Sony Music Jazz
  • ASIN: B0000AK0D4
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 42,740 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Squeeze Me (Album Version) 4:33£0.99  Buy MP3 
Listen  2. I'm Old Fashioned 4:53£0.99  Buy MP3 
Listen  3. Nuages 4:23£0.99  Buy MP3 
Listen  4. Why Shouldn't I 3:38£0.99  Buy MP3 
Listen  5. Everything I Love 3:42£0.99  Buy MP3 
Listen  6. Warm Valley 4:30£0.99  Buy MP3 
Listen  7. Till The Clouds Roll By 4:09£0.99  Buy MP3 
Listen  8. Mean To Me 5:10£0.99  Buy MP3 
Listen  9. Theme From "M*A*S*H" 3:04£0.99  Buy MP3 
Listen10. Wave 6:21£0.99  Buy MP3 
Listen11. Nuages (Alt. Take) 4:47£0.99  Buy MP3 
Listen12. Squeeze Me (Alt. Take) 4:05£0.99  Buy MP3 
Listen13. Till The Clouds Roll By (Alt. Take) 5:12£0.99  Buy MP3 

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Customer Reviews

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Most Helpful Customer Reviews

14 of 14 people found the following review helpful By Shimmy on 6 Jun 2009
Format: Audio CD Verified Purchase
I bought this CD to hear something of Ed Bickert who plays jazz on a Telecaster, the bonus was the sublime Paul Desmond. I just love his tone and his unforced playing always keeping to the tune and giving the composer the space they need. Ed Bickert is a guitarist who was surely meant to play with Paul Desmond and follows the great Jim Hall who suggested Ed Bickert to Paul Desmond.
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10 of 10 people found the following review helpful By Redhenry on 31 Oct 2009
Format: Audio CD Verified Purchase
Paul Desmond's alto playing was described once as 'the sound of a dry martini'. Ed Bickert adds a second martini here, as the two are perfectly matched and seem very comfortable with the material and each other. I would have liked the tone of the bass to be a little softer, but otherwise, this is a delightful set of standards, well recorded.
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1 of 1 people found the following review helpful By David Mellor on 28 July 2013
Format: Audio CD Verified Purchase
The laid back sax of Paul Desmond complimented by the brilliant guitar of Ed Bickert absolute heaven.Even my wife like it and she doesnt care for jazz !!!! Highly recommended
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0 of 1 people found the following review helpful By Frankwdt on 26 Jan 2014
Format: Audio CD Verified Purchase
If you like Desmond, this is for you. I love it - it's great listening on the commute to make it all palatable !
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Most Helpful Customer Reviews on (beta) 25 reviews
58 of 60 people found the following review helpful
Desmond's "mix and match" quartet album 19 Aug 2002
By A Customer - Published on
Format: Audio CD
After the Dave Brubeck quartet, Paul Desmond recorded primarily in three settings: a guitar based quartet with Jim Hall featuring Connie Kay on drums, on a series of flawed, over-orchestrated albums with Ron Carter on bass and many, many back-up musicians, and finally, in a humble quartet with little known guitarist Ed Bickert. This album is unique because it finds Desmond in the quartet setting that suits him the best, but with a mix of all the different musicians he'd played with: Connie Kay, Ron Carter and Ed Bickert; all together for the first and only time! These are four great musicians and the album does in fact live up to their promise. Fans of any of these musicians would do well to pick up this album as they all get a chance to shine. Kay drums smooth, Carter is one of the greatest bassists ever, and Ed Bickert's guitar is distinctly different from Jim Halls (it's a bit more plucky, in lay-mans terms, but in a good way- it's complimented by Carter's bass and provides great support for Desmond) and Paul Desmond, well, Desmond proves why he's the greatest alto sax player. This is one of the best solo Desmond outtings out there, so don't pass it up.
35 of 37 people found the following review helpful
Desmond and Bickert, what a team !! 27 Sep 2000
By Francis Lannie - Published on
Format: Audio CD
I bought this because i like Desmond and had heard some Bickert. I assumed they'd be good together, boy was i wrong....THEY ARE FANTASTIC! When listening to other jazz, at up tempo's, with complex harmony etc sometimes it just seems too much. Because of the speed i just can't catch everything that's happening and get frustrated. This album on the whole has good mid-tempo tunes, an excellent sound mix enabling you to hear all of the individual instruments, and plain good tunes. Desmond has his trademark sound and plays some nice musical ideas. As a guitar player I found Bickert to be amazing. Everybody plays fast, long single note lines these days, but Ed plays chords like nobody else, he kind of sounds like a piano, a bit of Bill Evans maybe ? Together they create amazing music with nice solos where you can hear that they are keeping the melody foremost in their minds as they play. The bottom line is that there is no ego here at all, just a great collaboration by the whole band, the nearest comparison i can think of is the Gerry Mulligan Quartet with Chet Baker. I'll let someone else have the final words, my wife, who said 'That's great, who is it ?'
You know it makes sense, buy this album !
23 of 23 people found the following review helpful
40th Anniversary edition offers a different take -- in my view a mistake 6 Dec 2011
By Eric J. Anderson - Published on
Format: Audio CD
I recently compared the new 40th Anniversary edition of this classic CTI album with the original CD release (from 1990, I believe). I was very surprised at the differences I heard.

First, the high frequencies of the 40th Anniversary have been rolled off, as if the treble control on your amplifier had been turned down substantially. On some songs, the cymbals seem to virtually disappear, and the overtones of the guitar and saxophone become muted and clouded.

Second, on the majority of the 40th Anniversary tracks, the instruments of the quartet have been all bunched up in the center of the soundstage, as if the album was mixed in mono. The original CD release has a more open soundstage with sax and guitar usually on opposite channels, Ron Carter's bass and drums in the center.

Third, the timing of the songs is not the same. Nuages is nearly a minute shorter in the 40th Anniversary release. Other songs vary in lesser degrees. I do not know the reason for this cutting and trimming. I don't like it.

This revisionism really puzzles me. Perhaps it is closer to the original vinyl, though I do not have the vinyl so that would be speculation. Other 40th Anniversary CTI releases I have found pleasing. But this one falls short. The original CD release sounds more detailed and open. The 40th Anniversary sounds tends to sound like a 1950s recording with the highs rolled off to hide the tape hiss. But there is no bothersome hiss on the original CD to hide.

They really dropped the ball on this release, in my opinion. However, if you are the type who thinks mono is better than stereo, and who is irritated by the upper overtones of the saxophone (even one played as sweetly as Paul Desmond does), then perhaps you'll find the new 40th Anniversary issue nearer to ideal.

The music is great, but you probably knew that already. You'll have to choose the presentation you prefer. If you thought the earlier releases were too bright, you'll probably like this one more.
26 of 27 people found the following review helpful
Desmond Best When Pure & Unadulterated 21 April 2004
By "elprofeloco" - Published on
Format: Audio CD
As a huge Desmond fan (well, not so sizeable, but enthusiastic) for many decades, I've concluded that, for me, Desmond is best when he is in a minimal setting with a few capable musicians - this is usually a trio or quartet format without strings, orchestration or overdubs. I find that of the dozens of Desmond recordings I own, the over-produced and over-orchestrated ones get in the way of the true art and essence of Desmond.
The oft quoted "Desmond is (smooth) like a dry martini" has more than one truth to it - both are at their best with only four choice ingredients (gin, vermouth, olive, ice - or alto, bass, drums, guitar or piano). Desmond is so deceptively smooth, adept, and lyrical that he needs to be heard uncluttered and unfettered.
For me, some of Desmond's best recordings are in the quartet format with either Jim Hall or Ed Bickert on guitar. If you can't get the now out of print Mosaic label 4 CD set with Jim Hall (those 4 CDs would be 4 of my 5 desert-island-discs and I listen to a lot of music from Bach to blues), then at least get whatever you can of Desmond w. Hall or Bickert.
There is a saying that "if a man don't like the blues he's got a hole in his soul" - well, if someone can't appreciate Desmond at his best, they've got a void in their psyche - and "Pure Desmond" is one example of Desmond at his best.
7 of 7 people found the following review helpful
If you like dry martinis . . . 15 May 2011
By Caponsacchi - Published on
Format: Audio CD
I was once solely a Bird and Stitt fan, but the more I listen to Desmond, the more I find myself captivated by his magical story-telling. Forget the "dry martini" stuff and all of the talk about the velvety tone, the instantly identifiable sound, the effusive praise about his unsurpassed lyricism, etc. What makes Paul so extraordinary is his uncanny ability to listen to himself and to tell a story in which tone, dynamics, textures, intervals, tension and release, climax and anticlimax all interact to reward the listener with a sense of fulfillment and satisfaction regardless of how many times the same solo has been replayed.

Paul himself is the model of the perfect listener, constantly creating conversations with himself. He's the preacher issuing "calls," but he's also the congregation ever ready with the appropriate "response." Most of his solos are based on a minimal number of phrases, but each is subjected to numerous permutations, never repeated verbatim but perhaps an octave higher or lower, inverted or retroverted, the individual notes attacked and released with varied articulations, or a single note inflected until each of the microtonal pitches between the piano's arbitrary half notes has been sounded.

The problem with the production values favored by Creed Taylor is that the sound is approached as sufficient in itself to capture and hold the consumer's interest. Accordingly, for the listener who's content to put Desmond in the background, serving up "mood music," "Pure Desmond" should satisfy. But to the listener who's heard Paul at his inspired, passionate, alternately moody, fiery and jocular best ("Jazz at Oberlin" and "Jazz Goes to College" may be the two outstanding examples), the Creed Taylor dates--along with many of the overly homogeneous dates under Paul's own name--simply lack the dramatic interest capable of holding the listener's complete and undivided attention like the best Desmond-Brubeck encounters. (If anything, the occasionally tenuous, even tense, personal relationship between the two supports Oscar Peterson's characterization of even his trio performances as "battles to the death" between himself and a worthy peer, be it Barney Kessel or Joe Pass).

For hardcore jazz followers who are "either/or" when it comes to Desmond and Charlie Parker: I'm not sure which shock hit me harder: 1. the realization, when I got to college, that Paul Desmond along with many other "white, West Coast" musicians were "taboo" (get rid of your Columbia collection--except for Miles--I was told by the influential big-city clique whose collection was all black, East Coast, hard bop, Blue Note and Prestige) or 2. the recent discovery of a radio conversation between Paul Desmond--and Charlie Parker! Granted, it's short, but if anything Bird sounds more articulate and modest than the witty, introspective Paul. He compliments both Paul and Brubeck, prompting Paul to proclaim Bird the "greatest innovator" at this stage in the "history of jazz." Bird demurs! "That honor is yours for now, Paul. But I intend to make my contribution soon. " Not exactly an exchange between two antithetical creative spirits and certainly not a dividing line between two different schools--and even "levels"--of musical authenticity, requiring that a choice be made between the two.

Both men left us far too soon after this exchange (in the case of Bird, one year; for Paul, 20); but their respective voices continue to play themselves out in this listener's mind even now.
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