🎷 AotW: CTI Paul Desmond - SUMMERTIME (SP-3015)

All the CTI releases

How Would You Rate This Album?

  • ***** (Best)

    Votes: 5 41.7%
  • ****

    Votes: 4 33.3%
  • ***

    Votes: 1 8.3%
  • **

    Votes: 0 0.0%
  • * (Worst)

    Votes: 0 0.0%
  • Never Heard This Album

    Votes: 2 16.7%

  • Total voters
    12

Captain Bacardi

Well-Known Member
Paul Desmond
SUMMERTIME

A&M/CTi SP-3015

sp3015.jpg

Released 1969
Peaked at #8 on Jazz Charts (1969)

Format: Vinyl/8-Track/Reel-to-Reel/Cassette/CD (Japan)

Produced by Creed Taylor

Songs:
  • 1. Samba (Struttin') With Some Barbecue (Louis Armstrong) - 4:20
    2. Olvidar (Don Sebesky) - 5:30
    3. Ob-La-Di, Ob-La-Da (Lennon/McCartney) - 2:10
    4. Emily (J. Mercer/J. Mandel) - 4:45
    5. Someday My Prince Will Come (Morey/Churchill) - 3:05
    6. Autumn Leaves (Kosma/Mercer) - 3:00
    7. Where Is Love? (Lionel Bart) - 5:30
    8. Lady In Cement (Hugo Montenegro) - 3:06
    9. North By Northeast (Paul Desmond) - 4:30
    10. Summertime (Gershwin/DuBose) - 4:00

    Arranged by Don Sebesky

Musicians:
Paul Desmond - Alto Sax
Ron Carter - Bass
Frank Bruno - Bass (3)
Herbie Hancock - Piano
Leo Morris - Drums
Airto Moreira - Drums (1, 8 )
Joe Beck - Guitar (1)
Jay Berliner - Guitar (7, 8, 10)
Eumir Deodato - Guitar (8 )
Bucky Pizzarelli - Guitar (3)
Mike Mainieri - Vibes (7, 8, 10)
Joe Venuto - Marimba (3)
George Marge - Flute and Oboe (3)
Bob Tricarico - Flute and Bassoon (3)
French Horns: Ray Alonge, Jimmy Buffington, Tony Miranda
Trombones: Wayne Andre, Paul Faulise, Urbie Green, J.J. Johnson, Bill Watrous, Kai Winding
Trumpets: Burt Collins, John Eckert, Joe Shepley, Marvin Stamm
Percussion: Jack Jennings, Airto Moreira

Recorded at Van Gelder Studios
Rudy Van Gelder, Engineer
Recorded October 10, 16, 24; November 5, 20; December 26, 1968

Cover photographs by Pete Turner
Album Design by Sam Antupit
Liner Notes by Eugene Boe




Capt. Bacardi
 
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I just picked up a promo copy of Paul Desmond's Summertime album (SP 3015), and I was pretty much blown away with this record. I think Verve goofed by issuing From The Hot Afternoon instead of this record. The rhythm section is pretty solid here, and Desmond swings his rear end off. Even the orchestra doesn't get in the way, as is usual on the A&M/CTI stuff. "North By Northeast" is a really cool tune.

Interesting that the liner notes say that this was his first record since leaving the Dave Brubeck Quartet a year before.


Capt. Bacardi
...diggin' the new board online...
 
Cap'n-"Summertime" is a fine album and your argument holds water. Still,I would have always given the nod to "In the Hot Afternoon" as a better album and was pleased to see its availability,especially with added tracks in its 2000 release. However,my feelings are not those held by critics in general and rarely do my wishes happen in the land of reissuing,so go figure. I suspect the bossa nova theme and the Nascimento material could have been reasons why "Hot Afternoon"got the nod,possibly reaching a "world music" market outside of jazz. I would have thought sales for both first time around would have been pretty equal or "Summertime" a bit bigger. BTW-Paul's reading of "Someday My Prince Will Come" on "Summertime" is still the best,even surpassing Bill Evans' popular reading of this ballad at Montreaux. I love the way Paul waits to get to the main theme and Don Sebesky has a little nod to then-current Disney TV show theme hidden in the brass section-the star and the arranger don't butt heads. Having said all of that, the Paul Simon-tribute album,"Bridge Over Troubled Water" is right up there with the other two-possibly the "best of show" of the three. That awaits another post-Mac
 
Captain Bacardi said:
I just picked up a promo copy of Paul Desmond's Summertime album (SP 3015), and I was pretty much blown away with this record. I think Verve goofed by issuing From The Hot Afternoon instead of this record.

I prefer Hot Afternoon mainly for the Brazilian connection, but I haven't listened to Summertime or Bridge Over Troubled Water in many years. This was either the 2nd or 3rd time Hot Afternoon made it to CD (I have both domestic CDs...the Verve definitely sounds better). Summertime was, I think, available as an import, but not sure about Bridge. My mother played all of these around the house, for many years.

Captain Bacardi said:
Interesting that the liner notes say that this was his first record since leaving the Dave Brubeck Quartet a year before.

Interesting. I'd thought he recorded for RCA prior to A&M. Or was RCA (such as Desmond Blue) something he did alongside his DBQ duties? I thought the DBQ had flamed out a few years prior to A&M/CTi.

-= N =-
 
Interesting. I'd thought he recorded for RCA prior to A&M. Or was RCA (such as Desmond Blue) something he did alongside his DBQ duties? I thought the DBQ had flamed out a few years prior to A&M/CTi.

-= N =-

I only have one RCA Desmond recording (Pure Gold Jazz, which is a reissue of Desmond Blue) and it has a '78 copyright date. I guess I should pull out Bridge Over Troubled Water, since I haven't listened to it in quite some time.


Capt. Bacardi[/quote]
 
jimac51 said:
Cap'n-"Summertime" is a fine album and your argument holds water. BTW-Paul's reading of "Someday My Prince Will Come" on "Summertime" is still the best,even surpassing Bill Evans' popular reading of this ballad at Montreaux.

I agree! Both versions are great. I guess I enjoy Summertime more because it's more of a straight-ahead feel, as opposed to the more Brazilian feel of Hot Afternoon. Maybe the addition of the alternate takes of HA took something away for me.


Capt. Bacardi
 
Cap'n,then to Neil(sorry about the A&M pun)-"Summertime" was indeed the first album that Paul recorded since he had left Brubeck. The RCA albums were all recorded during his tenure with Dave,with the stipulation that he not record any DBQ tunes and not use a piano in the recordings. Hence,"Take Five" was never done during the RCA years and Paul was kind of forced to strike up a relationship with guitarist Jim Hall. Though some critics disagree,I feel that Desmond was the magic of the Brubeck group and that the few Desmond/Hall recordings are better than most of the Brubeck recorded output. I just wish I knew about Mosaic when they put together a limited edition complete Desmond/Hall box,including most of Paul's RCA stuff and recordings made for Warner Bros. The non-limited complete RCA box is a pretty good second prize. Mac
 
Captain Bacardi said:
I agree! Both versions are great. I guess I enjoy Summertime more because it's more of a straight-ahead feel, as opposed to the more Brazilian feel of Hot Afternoon. Maybe the addition of the alternate takes of HA took something away for me.

That could be. I usually turn the Verve CD off after the last album track. The original CD from the 80's (digipak, gatefold, I actually prefer the packaging since it's similar to the original LP) has no bonus tracks, but also has the worse sound. (Typical noisy LP masters, on top of the muddy engineering.)

I don't have a good LP copy of Summertime (I have Mom's, but it has some wear due to being played on a Magnavox console all those years), so I may hunt around for a better LP or, if not too expensive, the import CD.

-= N =-
 
jimac51 said:
Having said all of that, the Paul Simon-tribute album,"Bridge Over Troubled Water" is right up there with the other two-possibly the "best of show" of the three. That awaits another post-Mac

I'd say that out of all of them, I remember my mother playing Bridge the most of the three albums...she liked the "cool" arrangement of "El Condor Pasa". I'll admit that after a dozen or so years, I wasn't as familiar with the other two as I was with this one when I rediscovered them.

-= N =-
 
Just for everyone's information,"Bridge" was originally rated five stars by Leonard Feather in the 12/24/70 issue of "Downbeat". An A&M ad from that era quotes Leonard:"It's a perfect collaboration between the two Pauls. Simon to write the songs and Desmond to play them." Kind of high praise for the magazine in general and Feather in particular-they usually didn't shine up to many Creed Taylor/Don Sebesky productions like this one. Our local vinyl show two weeks ago had a clean(er)copy of my current one for a reasonable three bucks(now I have three-my original one is just a curio piece nowadays) but still wish this and "Summertime" were available on domestic CD. My favorite alto sax player and one of the funniest music interviews ever-his sense of humor was as dry as his playing. Mac,wondering forever just how many players are in a quartet-
 
If I recall, didn't the liner notes for one of the albums say something to the effect of: "I had the vague idea I wanted to sound like a dry martini."

I have a bio ot Brubeck that was interesting. Seems that Desmond was a little bit eccentric. Like how he disappeared from an earlier Brubeck group, for whatever reason, then without explanation reappeared and rejoined the group for their most successful run. Also recall mention of how Desmond did not like drummers, but fortunately found Joe Morello one of the few drummers he didn't mind playing with. And how he'd sit out on songs that he just didn't like. (Wonder if that explains why he sits out for all but one track on the second side of Time Further Out.)

I do recall a tale of Desmond's driving technique. He and Brubeck were late for a gig, and were driving down a road that Paul knew was timed for 45 miles per hour. By his calculations, he could go twice as fast on the same road and hit all the same lights...and he and a rather frazzled Brubeck made the gig on time. (Or so the legend goes.)

Interesting fellow!

-= N =-
 
jimac51 said:
Just for everyone's information,"Bridge" was originally rated five stars by Leonard Feather in the 12/24/70 issue of "Downbeat". An A&M ad from that era quotes Leonard:"It's a perfect collaboration between the two Pauls. Simon to write the songs and Desmond to play them." Kind of high praise for the magazine in general and Feather in particular-they usually didn't shine up to many Creed Taylor/Don Sebesky productions like this one.

As I recall, both Feather and Down Beat didn't care for anything that A&M put out, until the Horizon series was released. I remember one review (I think it was the Nat Adderely LP) that pretty much said that A&M's jazz output should stick with that guy named Herb Somebody. Nothing like damning with faint praise. :rolleyes:


Capt. Bacardi
NP: Neil Larsen - Jungle Fever
 
It depends on the album, but in some cases, there are a few of the A&M/CTi's that are so laden with Creed Taylor's overproduction that I hardly play them. I'm more the type who thinks "simpler is better." I do like Hot Afternoon by Desmond, but I think the album really would have shined if there had been more of a latter-day Brasil '66 ("Casa Forte", etc.) backing to it, vs. having any type of instrumental accompaniment.

The bonus tracks on Hot Afternoon were an attempt to show that it was a good small combo sound, but with all the gaps in the track (basically color-by-numbers, "add orchestrals here" vacancies), it's not at all pleasant to listen to.

One bonus track I actually like and, in fact, the only track I like on the entire album, is "Tema Jazz" from Jobim's Tide album. The bonus track is unedited, and is presented in its full length. Nice.

-= N =-
 
I can't believe I missed this thread. :shock:

Desmond is my favorite alto saxophonist, my favorite jazz musician, and in many respects a personal hero to me. So forgive me if I rave too much. :D

That said, Hot Afternoon is my least favorite of Desmond's A&M albums. There wasn't really much bossa nova in it at all, IMHO--more "world music" of the Nascimento variety, which isn't my bag at all. Very little of the Jobim-esque sophistication and elegance which distinguished earlier efforts like Bossa Antigua. As a result, Afternoon is one of the only times in Desmond's career that I think he sounded mis-matched with the material he was playing.

Summertime is another story altogether. Mostly straightahead, but the two bossa nova-styled numbers on that disc ("Samba With Some Barbecue" and "Autumn Leaves") are an absolute delight. If Hot Afternoon had sounded like those two tracks, I'd like it a lot better! I can't really complain about anything on Summertime. I enjoy the eclectic sound of the album, with a bit of Brazil mixed in with the straight jazz, movie music, Broadway songs, etc. Beautifully produced and beautifully played.

Both Summertime and Bridge are available as Japanese imports, POCM-5066 and POCM-5067 respectively. (Count me among those who regard the latter as a five-star masterpiece, "best of show" and possibly even "best of career" and "best of genre," BTW.) Import dealers generally sell them in the $20 range. They're worth every penny, if you ask me--I bought them "sound unheard," so to speak, and I haven't been the same since...

Yeah Neil--as Jim pointed out, Desmond recorded for RCA from 1961-65, on breaks from the DBQ. The albums are Desmond Blue, with strings; Two Of A Mind, with a two-sax quartet co-starring Gerry Mulligan; and Take Ten, Bossa Antigua, Glad To Be Unhappy, and Easy Living, all with a quartet co-starring Jim Hall. I've compiled a complete sessionography of his RCA activities if Nipper's Place is looking for one. :wink:
 
William said:
Both Summertime and Bridge are available as Japanese imports, POCM-5066 and POCM-5067 respectively.

Cool!

William said:
I've compiled a complete sessionography of his RCA activities if Nipper's Place is looking for one. :wink:

Always looking! I'll make a spot for it! The only album I have is Desmond Blue, on an well-worn vinyl copy and the recent CD reissue which has different (and better?) cover art.

-= N =-
 
Hope this AOTW gets an Extra Week! Seems as though someone forgot to put it up earlier. :laugh:

This is definitely an example of a CLASSIC A&M/CTi, both on the cover and in the grooves!:cool: If THIS is what's meant by Jazz Losin' Its groove, then they definitely DO need to make 'em they way they used to. :wink:

But, at least the OLD STUFF like this, is still the market! :)

Dave

Gioccho Adesso: Evie Sands "But You Know I Love You" A&M SP 4239
 
Five stars baby! :D

For my money it's Paul's second-best large-group solo album (after Bridge Over Troubled Water), and a lot more interesting than most of his quartet records with Brubeck or Jim Hall. Paul's idiosyncratic wit is in characteristically good shape--converting a Louis Armstong tune into a bossa nova, quoting "Hey Jude" in his "Ob La Di" solo, doing "Summertime" in 5/4... I wish more jazz musicians had his sense of humor.

For me, the real treat is hearing Desmond play with Herbie Hancock, Ron Carter and Idris Muhammad, who are much looser, freer and (IMO) far more interesting rhythm men than the MJQ alumni that Desmond usually recorded with. They push Paul a little harder than we usually hear him pushed, and he responds with a harder swing than usual--but with his uncanny melodic sensibility and beautifully soft tone intact. I guess that's a long way of saying that I think the musicians here play very well.

It's hard to choose a favorite track from the album, since they're remarkably consistent in quality--but I'd single out the lovely reading of Johnny Mandel's "Emily" as my favorite here. Partially for musical reasons, but also because there was a special person named Emily in my life when I bought the album, so...... well, discounting sentimentality, I'd give "Samba With Some Barbecue" the nod.

There are so many great moments on the album, though. Dig Herbie and Ron superimposing 4/4 over the 3/4 beat of "Someday My Prince Will Come," and Paul's incredible line of descending thirds a couple of minutes into "Summertime," and the ridiculously confusing time signature changes of "Lady In Cement," and Airto's perfect percussion on three selections.

In truth, the whole album represents to me everything that jazz should be. Beautiful record.


- William
 
It has literally been years since I've listened to this album. My mother had it, and I think I may now have it here...but then again, I may not. I do recall it may have been released as one of those Audio Master Plus series albums, but I remember holding off to see if it came out on CD domestically (which, IIRC, it never did). I do recall it was reissued in Japan on CD, so I keep watching for a copy of it.

What's your take on Desmond Blue? (That should be an AOTW over on the RCA forum. :wink: )

-= N =-
 
Rudy said:
It has literally been years since I've listened to this album. ... I do recall it was reissued in Japan on CD, so I keep watching for a copy of it.

Dusty Groove stocks the Japanese CD (POCM-5066) on a regular basis. I keep hoping that it'll be reissued domestically some time, but knowing Verve... :rolleyes:

Rudy said:
What's your take on Desmond Blue? (That should be an AOTW over on the RCA forum. :wink: )

Desmond Blue is probably my least favorite thing that Paul did with an orchestra. Something about Bob Prince's orchestrations rubs me the wrong way. The sound of several songs on the album almost reminds me of TV scores for family sitcoms from the '50s, like "Leave It To Beaver" and so on... I keep seeing June & Ward in my head when I listen to it! Desmond's plays at his usual high level (as does Jim Hall) and there is some great jazz in there, but the arrangements just seem remarkably "white bread" and un-hip to me. The repertoire is also less to my taste, less eclectic than that of albums such as Summertime. There's nothing inherently wrong with Desmond Blue, but I have some issues with it.


- William
 
We pretty much talked at length about this album a few months ago, but it's worth talking about again! :cool: I was blown away when I first heard this record, especially in how it swings throughout (save the forgettable "Ob-La-Di..."). I think "North By Northeast" is a very underrated Desmond tune. Has he recorded this tune elsewhere? I also enjoyed the ballad "Emily". He also pays homage to his own "Take Five" on "Summertime". And if you really want to have fun, play Louis Armstrong's version of "Struttin' With Some Barbecue" (on his Hot Fives album) then play Desmond's "Samba With Some Barbecue" - great stuff! :cool: I hope this makes it as a domestic CD, or better yet, how about a multi-disc set of Desmond's A&M/CTi recordings?


Capt. Bacardi
...5 days until vacation online...
 
Paul didn't record "North By Northeast" anywhere else... probably because it's partially a rewrite of two previous tunes he did record with Brubeck: "Audrey" and "Balcony Rock." Check out the latter on the Brubeck/Desmond Duets album. (Oddly enough, he was also known to insert a large portion of this tune into his improvisations on Jobim's "Wave.")

"Ob La Di" does seem like a bit of a black sheep on this album, doesn't it? Different personnel, different size group, very short in duration, and recorded over a month after the other nine tracks on the record. I wonder if Creed Taylor added the tune to the album as a last-minute bit of commercial pandering...


- William
 
A quick note-In the Philly area,a radio station was trying a pop jazz format at the time of the A&M/CTI era(I even remember A&M-or probably,its local distributor,buying time to advertise) and "North" got all the airplay,so ,till I got my copy,this was the one selection I was most familiar with. Mac
 
I wonder if it's worth finding the Japanese CDs (Dusty Groove has Summertime in stock, but nothing for Bridge). It's usually my luck that:

1. a CD gets reissued in a better package after I buy the older one;

2. a domestic CD is released after I buy an expensive import;

3. a CD is reissued after spending years looking for the LP.

I think there's a spy around here...

-= N =-
 
Well, maybe Murphy can help me find a CD of this one. :wink: I just raided some LPs at Dad's house, and found my Mom's copy of Summertime. It's not scratched, but it is a little worn from seeing mostly play on a Magnavox console system. :confused: But with my luck, I'll find a CD of it, then watch a remastered version hit the shelves (domestically, even) a couple months after I find it. Better yet, if I find someone selling an Audio Master Plus vinyl edition, I'll take that instead. I recall "Autumn Leaves" was on the first AM+ sampler, but I held off on buying the LP because I thought the CD would be just around the corner. (I remember because From The Hot Afternoon didn't take long to come out on CD.) Big mistake--should have just bought the LP, new, like I did w/ both of the Jobim albums.

"Ob-La-Di" is somewhat out of place, but the rest all fits in together naturally. I've got the gatefold propped up right now, just for the photograph. :)

-= N =-
 
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