Coordinates	15°48′00″N47°54′00″N
name	Don Sebesky
background	non_vocal_instrumentalist
birth name	Donald Sebesky
born	December 10, 1937Perth Amboy, New Jersey, U.S.
instrument	Trombone
genre	JazzBig band
occupation	Trombonist, Arranger, Author
years active	1956-Present
associated acts	Tommy Dorsey, Stan Kenton, Maynard Ferguson, Kai Winding, Claude Thornhill
notable instruments	}}

Don Sebesky (b. December 10, 1937, Perth Amboy, New Jersey) is an American jazz trombonist and arranger.

Biography

Sebesky trained in trombone at the Manhattan School of Music; in his early career, he played with Kai Winding, Claude Thornhill, Tommy Dorsey, Warren Covington, Maynard Ferguson and Stan Kenton. In 1960 he began devoting himself primarily to arranging and conducting; one of his best-known arrangements was for Wes Montgomery's 1965 album ''Bumpin'''. Other credits include George Benson's ''The Shape of Things to Come'', Paul Desmond's ''From the Hot Afternoon'' and Freddie Hubbard's ''First Light''. His 1973 release, ''Giant Box'', hit #16 on the U.S. Billboard Jazz Albums chart.

He won three Grammy Awards in the 1990s: Best Instrumental Arrangement for "Waltz for Debby" (1998) and "Chelsea Bridge" (1999), and Best Instrumental Composition for "Joyful Noise Suite" (1999). He also won the Drama Desk Award for Outstanding Orchestrations for ''Parade'' (1999) and ''Kiss Me, Kate'' (2000). Sebesky has also written a book, ''The Contemporary Arranger'' (1975).

Discography

''Don Sebesky and the Jazz-Rock Syndrome'' (1968)

''Distant Galaxy'' (1968)

''Giant Box'' (1973)

''The Rape of El Morro'' (CTI Records, 1975)

''Three Works for Jazz Soloists and Symphony Orchestra'' (1979)

''Sebesky Fantasy'' (1980)

''Moving Lines'' (1984)

''Full Cycle'' (1984)

''Symphonic Sondheim'' (1991)

''Our Love Is Here To Stay'' (Telarc, 1997) - John Pizzarelli w/ Don Sebesky combo

''I Remember Bill: The Tribute to Bill Evans'' (1998)

''Joyful Noise: A Tribute to Duke Ellington'' (1999)

''Kiroron I-Kiroro Melodies'' (2000)

References

External links

Don Sebesky at the Internet Off Broadway Database

Category:1937 births Category:Living people Category:people from Perth Amboy, New Jersey Category:musicians from New Jersey Category:American trombonists Category:American composers Category:Tony Award winners Category:Drama Desk Award winners

de:Don Sebesky

Big Mama may refer to:

''Big Mama'' (film), 2001 Oscar winner for Short Documentary Feature

Big Mama, a character from the 1981 film, ''The Fox and the Hound''

Big mama, an Internet censor on web bulletin boards in the mainland of the People's Republic of China

Big Mama (band), a band of four female pop/R&B; singers in South Korea

Big Mama Thornton (1926–1984), American blues singer

Big Mama, a character in the anime and manga series ''Sorcerer Hunters''

Big Mama, a nickname for "grandmother" in some African-American families

Josephine Joseph (Soul Food), the matriarchal character from the ''Soul Food'' film and television series (often referred to as "Big Mama")

"Big Mama (Unconditional Love)", a song by LL Cool J from his 2002 album ''10''

Big Mama, a name for Mary, the mother of Jesus, in the Mama Tata religion

Big Mama, a moniker adopted by the character of EVA in ''Metal Gear Solid 4: Guns of the Patriots''

A nickname for JoAnne Carner, former LPGA golfer

See also

Big Momma (disambiguation)

fr:Big Mamma (homonymie) it:Big Mama ja:ビッグママ

Coordinates	15°48′00″N47°54′00″N
name	Cass Elliot
background	solo_singer
birth name	Ellen Naomi Cohen
alias	Mama Cass
born	September 19, 1941Baltimore, Maryland, U.S.
died	July 29, 1974 London, England, UK
instrument	Vocals
genre	Pop, folk rock
occupation	Singer
years active	1959–1974
label	Dunhill Records, RCA Records
associated acts	The Mamas & the Papas
notable instruments	}}

Cass Elliot (September 19, 1941 – July 29, 1974), born Ellen Naomi Cohen and also known as Mama Cass, was an American singer and member of The Mamas & the Papas. After the group broke up, she released five solo albums. Elliot was found dead in her room in London, England, from an apparent heart attack after two weeks of sold-out performances at the Palladium. In 1998, Elliot, John Phillips, Denny Doherty, and Michelle Phillips were inducted into the Rock and Roll Hall of Fame for their work as The Mamas & the Papas.

Early life and career

Ellen Cohen was born to Philip and Bess Cohen in Baltimore, Maryland, where she grew up. The family then moved to Alexandria, Virginia (a suburb of Washington, D.C.). She adopted the name "Cass" in high school – possibly, as Denny Doherty tells it, borrowing it from the actress Peggy Cass – but in any case, it was "Cass", not "Cassandra". She assumed the surname Elliot sometime later, in memory of a friend who had died.

While still attending George Washington High School, she became interested in acting and was cast in a school production of the play ''The Boy Friend''. She left high school shortly before graduation and relocated to New York City to further her acting career, appearing in the musical ''The Music Man'', but losing the part of Miss Marmelstein in ''I Can Get It for You Wholesale'' to Barbra Streisand in 1962.

While working as a cloakroom attendant at The Showplace in Greenwich Village, Elliot would sometimes sing, but it wasn't until she returned to the Washington area, to attend American University, that she began to pursue a singing career. As America's folk music scene was on the rise, Elliot met banjoist and singer Tim Rose and singer John Brown, and the three began performing as The Triumvirate. In 1963, James Hendricks replaced Brown and the trio was renamed The Big Three. Elliot's first recording with The Big Three was ''Winkin', Blinkin' and Nod'', was released by FM Records in 1963.

When Tim Rose left The Big Three in 1964, Elliot and Hendricks teamed with Canadians Zal Yanovsky and Denny Doherty as The Mugwumps. This group lasted eight months, after which Cass performed as a solo act for a while. Yanovsky joined with John Sebastian to co-found The Lovin' Spoonful while Doherty joined The New Journeymen, a group that also included John Phillips and his wife, Michelle. In 1965, Doherty convinced Phillips that Cass should join the group. She did so while she and the group members were vacationing in the Virgin Islands.

A popular legend about Elliot is that her vocal range was improved by three notes after she was hit on the head by some copper tubing shortly before joining The New Journeymen in the Virgin Islands. Elliot herself confirmed the story in a 1968 interview with ''Rolling Stone'' magazine, saying,

However, friends later said that the pipe story was a less embarrassing explanation for why John Phillips had kept her out of the group for so long, the real reason being that he considered her too fat.

The Mamas and the Papas

With two female members, The New Journeymen needed a new name. According to Doherty, Elliot had the inspiration for the band's new name, as Doherty writes on his website:

Doherty also says that the occasion marked the beginning of his affair with Michelle Phillips. Elliot, who was in love with Doherty, was displeased when he told her of the affair. Doherty has said that she once proposed to him, but that he was so stoned at the time, he could not even respond.

Elliot, known for her sense of humor and optimism, was considered by some to be the most charismatic member of the group. Her powerful, distinctive voice was a large factor in their success. She is best remembered for her vocals on the group's hits "California Dreamin'", "Monday Monday", and "Words of Love", and particularly for the solo "Dream a Little Dream of Me", which the group recorded in 1968 after learning about the death of Fabian Andre, one of the men who co-wrote it, whom Michelle Phillips had met years earlier. Elliot's version is noteworthy for its contemplative pace, whereas almost all earlier recordings of "Dream a Little Dream of Me" (including one by Nat King Cole) had been up-tempo versions — the song having actually been written in 1931 as a dance tune for the nightclubs of the day.

Elliot was also something of a sex symbol for the hippy culture, appearing nude and semi-covered in daisies for a Cheetah magazine poster. Also, Michelle Phillips and John Phillips remember several instances of audience members screaming out their love and throwing their room keys to Cass.

The Mamas & the Papas continued to record to meet the terms of their record contract until their final album was released in 1971.

Solo career

After the breakup of The Mamas & the Papas, Elliot embarked on a solo singing career. Her most successful recording during this period was 1968's ''Dream a Little Dream of Me'' from her solo album of the same name, released by Dunhill Records though it had originally been released on the album ''The Papas & the Mamas Presented By The Mamas and the Papas'' earlier that year. She headlined briefly in Las Vegas at Caesars Palace for USD$ 40,000 per week, but her performances were not well reviewed.

Elliot had two television variety specials: ''The Mama Cass Television Show'' (ABC, 1969) and ''Don't Call Me Mama Anymore'' (CBS, 1973). She was a regular guest on TV talk shows and variety shows in the 1970s, including ''The Julie Andrews Hour'', ''The Mike Douglas Show'', ''The Andy Williams Show'', ''Hollywood Squares'', "The Johnny Cash Show" and ''The Carol Burnett Show'' and was a guest panelist for a week on the game show ''Match Game '73''. She guest-hosted for Johnny Carson on ''The Tonight Show'' and appeared on that show 13 other times. She also appeared on and co-hosted ''The Music Scene'' on ABC and was featured on the first ''The Midnight Special'' on NBC. She performed in ''Saga of Sonora'', a 1973 TV music-comedy-western special with Jill St. John, Vince Edwards, Zero Mostel, and Lesley Ann Warren. She also sang the jingle "Hurry on down to Hardee's, where the burgers are charco-broiled" for Hardee's fast-food advertisements.

Throughout the early 1970s, Elliot continued her acting career as well. She had a featured role in the 1970 movie ''Pufnstuf'' and made guest appearances on TV's ''The New Scooby-Doo Movies'', ''Young Dr. Kildare'', ''Love, American Style'', and ''The Red Skelton Show'', among others.

Family and death

Elliot was married twice, the first time in 1963 to James Hendricks, her groupmate in The Big Three and The Mugwumps. This was reportedly a platonic arrangement to assist him in avoiding being drafted into the army during the Vietnam War; the marriage reportedly was never consummated and was annulled in 1968. In 1971, Elliot married journalist Baron Donald von Wiedenman who was heir to a Bavarian barony. Their marriage ended in divorce after a few months.

Elliot gave birth to a daughter, Owen Vanessa Elliot, on April 26, 1967. She never publicly identified the father, but many years later, Michelle Phillips helped Owen locate her biological father. Owen grew up to become a singer as well and toured with former Beach Boy Al Jardine.

At the height of her solo career in 1974, Elliot performed two weeks of sold-out concerts at the London Palladium. She telephoned Michelle Phillips after the final concert on July 28, elated that she had received standing ovations each night. She then retired for the evening, and died in her sleep at age 32. Sources state her death was due to a heart attack. Elliot died in a London flat, No. 12 at 9 Curzon Place, Shepherd Market, Mayfair which was on loan from singer/songwriter Harry Nilsson. Four years later, The Who's drummer Keith Moon died in the same flat at the same age.

Elliot was entombed in Mount Sinai Memorial Park Cemetery in Los Angeles. After her death, Elliot's younger sister, Leah Kunkel, received custody of Cass' daughter Owen, then just seven years old. Kunkel is also a singer and charted in 1984 as a member of the Coyote Sisters on the single "Straight From The Heart (Into Your Life)". Kunkel was interviewed by VH1 in 1997 and discussed her sister for the ''"Mamas & Papas"'' episode of the network's documentary series ''Behind The Music.''

An oft-repeated urban myth states that Elliot choked to death on a ham sandwich. The story, which started following the discovery of her body, was based on speculation in the initial media coverage. Police had told reporters that a partially eaten sandwich found in her room might have been to blame, though an autopsy had yet to be conducted. Despite the post-mortem examination finding that Elliot had died of a heart attack and no food at all was found in her windpipe, the false story that she choked on a sandwich has persisted in the decades following her death.

Tributes, other popular culture references, and barbs

The song "Mama, I Remember You Now" by the Swedish artist Marit Bergman is a tribute to Elliot. She was the subject of a 2004 stage production in Dublin, ''The Songs of Mama Cass'', with Kristin Kapelli performing main vocals. The Crosby, Stills & Nash ''Greatest Hits'' album released in 2005 was dedicated to Cass Elliot. The British film ''Beautiful Thing'' heavily features her recordings, and the memory of her plays a role in the life of one character.

Anthony Kiedis of Red Hot Chili Peppers cited The Mamas & the Papas, and especially Elliot as an influence, in an interview for ''Rolling Stone'', saying, "There have been times when I've been very down and out in my life, and the sound of her voice has sort of given me a reason to want to carry on." Boy George and k.d. lang also cited Elliot as an influence. George described her as "the greatest white female singer ever". Beth Ditto, singer of the band Gossip, named Elliot both as music and fashion inspiration, saying, "I really wanted to sound like Mama Cass growing up."

Elliot's recording of "Make Your Own Kind of Music" is featured prominently in several episodes of seasons 2 and 3 of ''Lost.'' Her recording of "It's Getting Better" was also featured in a season 4 episode.

Elliot is mentioned as one of the upcoming concert acts in the Stephen King short story "You Know They Got a Hell of a Band", which concerns a couple who wander into a small town inhabited by dead rock and roll legends.

Since her death, Elliot and the circumstances surrounding her death have been the butt of numerous jokes in comedy routines, movies, and songs, by performers such as Frank Zappa, Adam Sandler, Denis Leary, Mike Myers (in the first Austin Powers movie), "Weird Al" Yankovic, Robin Williams, and others.

Industrial musician Foetus mentions that he is the one that "''gave the sandwich to Mama Cass''" in the song Throne Of Agony.

Solo discography

Albums

1968: ''Dream a Little Dream'' - US #87

1969: ''Bubblegum, Lemonade, and... Something for Mama'' - US #91

1969: ''Make Your Own Kind of Music'' - US #169 (a reissue of ''Bubblegum, Lemonade...'' with the hit title song added)

1971: ''Mama's Big Ones'' (solo greatest hits) - US #194

1971: ''Dave Mason & Cass Elliot''- US #49

1972: ''Cass Elliot''

1972: ''The Road Is No Place for a Lady''

1973: ''Don't Call Me Mama Anymore''

Singles

1968: "Dream a Little Dream of Me" (Mama Cass with the Mamas & the Papas) - US #12 Pop/#2 AC, UK #11

1968: "California Earthquake" - US #67

1969: "Move in a Little Closer, Baby" - US #58 Pop/#32 AC

1969: "It's Getting Better" - US #30 Pop/#13 AC, UK #8

1969: "Make Your Own Kind of Music" - US #36 Pop/#6 AC

1970: "New World Coming" - US #42 Pop/#4 AC

1970: "A Song That Never Comes" - US #99 Pop/#25 AC

1970: "The Good Times Are Coming" - US #104 Pop/#19 AC

1970: "Don't Let the Good Life Pass You By" - US #110 Pop/#34 AC

References

External links

The Official Cass Elliot Website

Category:1941 births Category:1974 deaths Category:American female singers Category:Cardiovascular disease deaths in England Category:Deaths from myocardial infarction Category:Jewish American musicians Category:People from Baltimore, Maryland Category:Musicians from Baltimore, Maryland Category:The Mamas & the Papas members Category:English-language singers

bs:Cass Elliot cs:Cass Elliot cy:Cass Elliot de:Cass Elliot es:Cass Elliot fr:Cass Elliot hr:Cass Elliot it:Cass Elliot lt:Cass Elliot hu:Cass Elliot nl:Cass Elliot ja:キャス・エリオット no:Cass Elliot pl:Cass Elliot pt:Cass Elliot ru:Эллиотт, Касс sr:Кес Елиот sh:Mama Cass fi:Cass Elliot sv:Cass Elliot tr:Cass Elliot

Coordinates	15°48′00″N47°54′00″N
name	Billy Strayhorn
background	non_performing_personnel
birth name
born	November 29, 1915Dayton, Ohio, U.S.
died	May 31, 1967New York City, New York, U.S.
genre	Classical, mainstream jazz, swing
occupation	Arranger, composer, pianist
instrument	Piano
years active	1934–1964
label	United Artists, Felsted, Mercer
associated acts	Duke Ellington
website	www.billystrayhorn.com }}

William Thomas "Billy" Strayhorn (November 29, 1915 – May 31, 1967) was an American composer, pianist and arranger, best known for his successful collaboration with bandleader and composer Duke Ellington lasting nearly three decades. His compositions include "Chelsea Bridge", "Take the "A" Train" and "Lush Life".

Early life

Strayhorn was born in Dayton, Ohio. His family soon moved to the Homewood section of Pittsburgh, Pennsylvania. However, his mother's family was from Hillsborough, North Carolina, and she sent him there to protect him from his father's drunken sprees. Strayhorn spent many months of his childhood at his grandparents' house in Hillsborough. In an interview, Strayhorn said that his grandmother was his primary influence during the first ten years of his life. He first became interested in music while living with her, playing hymns on her piano, and playing records on her Victrola record player.

Return to Pittsburgh and meeting Ellington

Strayhorn returned to Pittsburgh, and attended Westinghouse High School, later attended by Erroll Garner and Ahmad Jamal. In Pittsburgh, he began his musical career, studying classical music for a time at the Pittsburgh Music Institute, writing a high school musical, forming a musical trio that played daily on a local radio station, and, while still in his teens, composing (with lyrics) the songs "Life Is Lonely" (later renamed "Lush Life"), "My Little Brown Book", and "Something to Live For". While still in grade school, he worked odd jobs to earn enough money to buy his first piano. While in high school, he played in the school band, and studied under the same teacher who had also instructed jazz pianists Erroll Garner and Mary Lou Williams. By age 19, he was writing for a professional musical, ''Fantastic Rhythm''.

Though classical music was Strayhorn’s first love, his ambition to become a classical composer was shot down by the harsh reality of a black man trying to make it in the then almost completely white classical world. Strayhorn was then introduced to the music of pianists like Art Tatum and Teddy Wilson at age 19. These musicians guided him into the realm of jazz where he remained for the rest of his life. His first jazz exposure was in a combo called the Mad Hatters who played around Pittsburgh.

He met Duke Ellington in December 1938, after an Ellington performance in Pittsburgh (he had first seen Ellington play in Pittsburgh in 1933). Here he first told, and then showed, the band leader how he would have arranged one of Duke's own pieces. Ellington was impressed enough to invite other band members to hear Strayhorn. At the end of the visit, he arranged for Strayhorn to meet him when the band returned to New York. Strayhorn worked for Ellington for the next quarter century as an arranger, composer, occasional pianist and collaborator until his early death from cancer. As Ellington described him, "Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine."

Working with Ellington

Strayhorn's relationship with Ellington was always difficult to pin down: Strayhorn was a gifted composer and arranger who seemed to flourish in Duke's shadow. Ellington was somewhat of a father figure and the band, by and large, was affectionately protective of the diminutive, mild-mannered, unselfish Strayhorn, nicknamed by the band "Strays", "Weely", and "Swee' Pea". Ellington may have taken advantage of him, but not in the mercenary way that others had taken advantage of Ellington; instead, he used Strayhorn to complete his thoughts, while giving Strayhorn the freedom to write on his own and enjoy at least some of the credit he deserved. Though Duke Ellington took credit for much of Strayhorn’s work, he did not maliciously drown out his partner. Ellington would make jokes onstage like, "Strayhorn does a lot of the work but I get to take the bows!"

Strayhorn composed the band's best known theme, "Take the "A" Train", and a number of other pieces that became part of the band’s repertoire. In some cases Strayhorn received attribution for his work such as, "Lotus Blossom", "Chelsea Bridge", and "Rain Check", while other such as "Day Dream" and "Something to Live For", were listed as collaborations with Ellington or in the case of "Satin Doll" and "Sugar Hill Penthouse" were credited to Ellington alone. Strayhorn also arranged many of Ellington's band-within-band recordings and provided harmonic clarity, taste, and polish to Duke's compositions. On the other hand, Ellington gave Strayhorn full credit as his collaborator on later, larger works such as ''Such Sweet Thunder'', ''A Drum Is a Woman'', ''The Perfume Suite'' and ''The Far East Suite'', where Strayhorn and Ellington worked closely together.

''Detroit Free Press'' music critic Mark Stryker concludes that the work of Strayhorn and Ellington in ''Anatomy of a Murder'' is "indispensable, [although] . . . too sketchy to rank in the top echelon among Ellington-Strayhorn masterpiece suites like ''Such Sweet Thunder'' and ''The Far East Suite'', but its most inspired moments are their equal." Film historians have recognized the soundtrack "as a landmark -- the first significant Hollywood film music by African Americans comprising non-diegetic music, that is, music whose source is not visible or implied by action in the film, like an on-screen band." The score avoided the cultural stereotypes which previously characterized jazz scores and rejected a strict adherence to visuals in ways that presaged the New Wave cinema of the ’60s."

Personal life

Shortly before Ellington went on his second European tour with his orchestra, from March to May 1939, Ellington announced to his sister Ruth and son Mercer Ellington, that Strayhorn "is staying with us." Through Mercer, Strayhorn met his first partner, African-American musician Aaron Bridgers, with whom Strayhorn lived until Bridgers moved to Paris in 1947.

Strayhorn was openly gay. He participated in many civil rights causes. As a committed friend to Dr. Martin Luther King, Jr., he arranged and conducted "King Fought the Battle of 'Bam'" for the Ellington Orchestra in 1963 for the historical revue ''My People'', dedicated to Dr. King.

Billy Strayhorn's strong character left an impression on many people who met him. He had a major influence on the career of Lena Horne, who wanted to marry Strayhorn and considers him to have been the love of her life. Strayhorn used his classical background in guiding Horne's singing technique toward improvement. They eventually recorded songs together. In the 1950s, Strayhorn left his musical partner Duke Ellington for a few years to pursue a solo career of his own. He came out with a few solo albums, revues for the Copasetics (a New York show-business society) and took on theater productions with his friend Luther Henderson. Strayhorn’s compositions are known for the bittersweet sentiment, and classically infused designs that set him apart from Ellington.

Illness and death

Strayhorn was diagnosed with esophageal cancer in 1964, which eventually caused his death in 1967. Strayhorn finally succumbed in the early morning on May 31, 1967, in the company of his partner, Bill Grove. (It has often been falsely reported that Strayhorn died in Lena Horne's arms. By her own account, Horne was touring in Europe when she received the news of Strayhorn's death.) His ashes were scattered in the Hudson River by a gathering of his closest friends.

While in hospital, he had submitted his final composition to Ellington. "Blood Count", which was used as the first track to Ellington's memorial album for Strayhorn, ''…And His Mother Called Him Bill'', was recorded several months after Strayhorn's death. The last track of the album is a spontaneous solo version of "Lotus Blossom" performed by Ellington, who sat at the piano and played for his friend while the band packed up after the formal end of the recording session (they can be heard in the background).

Legacy

Strayhorn's arrangements had a tremendous impact on the Ellington band. Ellington always wrote for the personnel he had at the time, showcasing both the personalities and sound of soloists such as Johnny Hodges, Harry Carney, Ben Webster, Lawrence Brown and Jimmy Blanton, and drawing on the contrasts between players or sections to create a new sound for his band. Strayhorn brought a more linear, classically schooled ear to Ellington’s works, setting down in permanent form the sound and structures that Ellington sought.

Strayhorn’s own work, particularly his pieces written for Johnny Hodges on alto saxophone, often had a bittersweet, languorous flavor.

Notes

Sources

External links

Billy Strayhorn official website

Billy Strayhorn at Allmusic

''Billy Strayhorn: Lush Life'' at PBS, Independent Lens

Billy Strayhorn: "Portrait Of A Silk Thread", by John Twomey

Billy Strayhorn at the glbtq Encyclopaedia

The Duke Ellington Society, TDES, Inc

Category:1915 births Category:1967 deaths Category:African American musicians Category:American jazz composers Category:American jazz pianists Category:American music arrangers Category:Duke Ellington Orchestra members Category:LGBT African Americans Category:LGBT composers Category:LGBT musicians from the United States Category:Mainstream jazz pianists Category:Musicians from Pittsburgh, Pennsylvania Category:People from Dayton, Ohio Category:People from Hillsborough, North Carolina Category:Songwriters Hall of Fame inductees Category:Swing pianists Category:Red Baron Records artists

de:Billy Strayhorn fr:Billy Strayhorn it:Billy Strayhorn he:בילי סטרייהורן ka:ბილი სტრეიჰორნი sw:Billy Strayhorn nl:Billy Strayhorn ja:ビリー・ストレイホーン nds:Billy Strayhorn pt:Billy Strayhorn ru:Стрэйхорн, Билли fi:Billy Strayhorn sv:Billy Strayhorn uk:Біллі Стрейгорн

Coordinates	15°48′00″N47°54′00″N
Name	Paul Desmond
Background	non_vocal_instrumentalist
Birth name	Paul Emil Breitenfeld
Alias	"The Stork"
Birth date	November 25, 1924
Death date	May 30, 1977
Origin	San Francisco, California, United States
Instrument	Alto saxophoneClarinet
Genre	Cool jazzWest Coast jazzMainstream jazz
Occupation	SaxophonistComposerArranger
Label	Columbia RecordsRCA VictorHorizon RecordsCTI Records
Associated acts	Dave BrubeckEd BickertGerry MulliganJim HallChet Baker
Notable instruments	}}

Paul Desmond (November 25, 1924 – May 30, 1977), born Paul Emil Breitenfeld, was a jazz alto saxophonist and composer born in San Francisco, best known for the work he did in the Dave Brubeck Quartet and for penning that group's greatest hit, "Take Five". He was not only one of the most popular musicians to come out of the West Coast's "cool jazz" scene, but also the possessor of a legendary and idiosyncratic wit.

In addition to his work with Brubeck he led several of his own groups and did significant collaborations with artists such as Gerry Mulligan, Jim Hall and Chet Baker. After years of chain smoking and general poor health, Desmond succumbed to lung cancer in 1977 following one last tour with Brubeck.

Early life

Paul Desmond was born Paul Emil Breitenfeld in San Francisco, California in 1924. His father was an organist who played in movie theaters during silent films, and his mother was emotionally unstable during his upbringing. During childhood he spent years living with relatives in New York City due to problems at home. Desmond began playing violin at a young age, though his father forbade him to play it.

He played clarinet at the age of twelve at San Francisco Polytechnic High. It was not until he became a freshman at San Francisco State College that he picked up the alto saxophone. In his freshman year he was drafted into the United States Army and joined the Army band while stationed in San Francisco. He spent three years in the military, but his unit was never called to combat.

Career

Following the conclusion of World War II, Desmond started working in Palo Alto, California at the Bandbox. He also worked some with Brubeck at the Geary Cellar in San Francisco. Desmond soon hired Brubeck, but cut his pay in half and then replaced him altogether after taking him along to Graeagle at The Feather River Inn for gigs; this was done so Desmond could gamble in nearby Reno. In 1950 Desmond left for New York City playing alto and clarinet for Jack Fina, but returned to California after hearing Brubeck's trio on the radio.

The story of their encounter is somewhat humorous. Brubeck — married with three children and holding a grudge from his earlier experience with Desmond — instructed his wife Iola not to let him set foot in his house. But Desmond came to his home in San Francisco one day while Dave was out back hanging diapers on a laundry line, and Iola let him in and took him to Brubeck. Apparently all the begging in the world would not convince Brubeck to hire him, at least not until Desmond offered to babysit Brubeck's children.

Dave Brubeck Quartet

Desmond had first met Dave Brubeck in 1944 while still in the military. Brubeck was trying out for the 253rd Army band which Desmond belonged to. After making the cut he—unlike Desmond—was sent to war in 1944. Desmond once told Marian McPartland of National Public Radio's ''Piano Jazz'' that he was taken aback by the chord changes Brubeck introduced during that 1944 audition. After convincing Brubeck to hire him following his stint with Jack Fina, the two had a contract drafted (of which Brubeck was the sole signatory); the language forbade Brubeck from ever firing him, ensured Brubeck's status as group leader, and gave Desmond twenty percent of all profits generated from the quartet.}} 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 like on their 1953 album ''Jazz At Oberlin'' at Oberlin College or on their recordings on the campuses of Ohio University and the University of Michigan, among others. The success of the quartet led to a ''Time'' magazine piece on them in 1954, with the famous cover featuring Brubeck's face.

The group played until 1967, when Brubeck switched focus from music to composition and broke the unit up. During the 1970s Desmond rejoined with Dave Brubeck for several reunion tours including "Two Generations of Brubeck". Accompanying them were Brubeck's sons Chris Brubeck, Dan Brubeck and Darius Brubeck. In 1976 he played 25 shows in 25 nights with Brubeck, touring the United States in several cities by bus.

Other collaborations

In June 1969 Desmond appeared at the New Orleans Jazz Festival with Gerry Mulligan, procuring favorable reactions from critics and audience members. During Brubeck's ''Two Generations'' tours, Desmond and Mulligan shared the stage together in 1974. Unlike Brubeck, Mulligan personally shared much in common with Desmond. The two shared similar interests and humor, and both men had no shortage of addictions in their lives.

After some time spent inactive, he was asked to play the famous Half Note in New York City in 1971 by guitarist Jim Hall. With his special brand of humor, he says he only took the job 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 The Modern Jazz Quartet for a Christmas concert in 1971 at the New York Town Hall.

Desmond recorded the tune "Summertime" along with many others during his time with Chet Baker.

Desmond met Ed Bickert through Jim Hall in Toronto, Canada and began performing with him at several clubs in the Toronto area. He appeared with the Paul Desmond Quartet at the Edmonton Jazz Festival.

Personal life

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 death. Desmond also was never able to hold down steady relationships with women, though he had no shortage of them. Desmond is reported to have quipped, upon seeing a former girlfriend on the street, "There she goes, not with a wimp, with a banker." In contrast, Brubeck was a stalwart family man.}} Desmond was quite well-read and retained a unique wit. He enjoyed reading works by the thinkers of his generation like Timothy Leary and Jack Kerouac, also dabbling in some LSD usage. He was known to have several addictions, including Dewar's Scotch whisky and Pall Mall cigarettes. His chemical-dependency problems would sometimes drain him of his energy on the road. Clarinetist Perry Robinson recalls in his autobiography that Desmond would sometimes need a vitamin B12 shot just to go on playing during his later career. He died in 1977, not of his heavy alcohol habit but of lung cancer, the result of his longtime heavy smoking. 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 didn't know that he was already dying. Desmond specified in his will that all proceeds from "Take Five" would go to the Red Cross following his death. Desmond reportedly owned a Baldwin grand piano, which he loaned to Bradley Cunningham, owner of the famous Bradley's piano bar in Greenwich Village, with the condition that Mr. Cunningham had to 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 Mr. Cunningham, a characteristic and final prank. The Paul Desmond Papers are held at the Holt-Atherton Special Collections in the University of the Pacific Library.

Style

Desmond had a light melodic tone when playing the alto saxophone that is similar to the style of Lee Konitz, one of his influences. He was able to achieve particularly high notes, called altissimo, becoming one of the best-known players from the West Coast's "cool 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, polytonal piano work. His gift for improvised counterpoint is perhaps most notable on the two albums he recorded with Mulligan ("Mulligan-Desmond Quartet" and "Two of a Mind").

Desmond played a Selmer ''Super Balanced Action'' alto saxophone with an M. C. Gregory model 4A-18M mouthpiece — both circa 1951 — with Rico 3 ½ reeds.

Discography

{|Class="wikitable"|width=100% |- bgcolor="#CCCCCC" !align="center" valign="bottom" width="20"|Year !align="center" vallign="bottom" width="230"|Album !align="center" valign="bottom" width="50"|Leader !align="center" valign="bottom" width="120"|Label |- bgcolor="#efefef" |align="left" valign="top"|1950 |align="left" valign="top"|The Dave Brubeck Octet |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Fantasy Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1951 |align="left" valign="top"|Brubeck/Desmond |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Fantasy Records |- |- bgcolor="#efefef" |align="left" valign="top"|1951 |align="left" valign="top"|Jazz At Storyville |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Fantasy Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1951 |align="left" valign="top"|Modern Complex Dialogues |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Alto Records |- |- bgcolor="#efefef" |align="left" valign="top"|1951 |align="left" valign="top"|How Long, Baby How Long, Pt. 1&2 |align="left" valign="top"|Jack Sheedy |align="left" valign="top"|Coronet Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1951 |align="left" valign="top"|The Man I Love c/w Down In Honkytonk Town |align="left" valign="top"|Jack Sheedy |align="left" valign="top"|Coronet |- |- bgcolor="#efefef" |align="left" valign="top"|1952 |align="left" valign="top"|Jazz At the Blackhawk |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Fantasy |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1952 |align="left" valign="top"|The Dave Brubeck Quartet |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Fantasy |- |- bgcolor="#efefef" |align="left" valign="top"|1953 |align="left" valign="top"|Jazz At Oberlin |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Fantasy |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1953 |align="left" valign="top"|Jazz at the College of the Pacific |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Fantasy |- |- bgcolor="#efefef" |align="left" valign="top"|1954 |align="left" valign="top"|Dave Brubeck At Storyville 1954 |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1954 |align="left" valign="top"|Jazz Goes to College |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1954 |align="left" valign="top"|Brubeck Time |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1954 |align="left" valign="top"|Gerry Mulligan/Paul Desmond |align="left" valign="top"|Gerry Mulligan & Paul Desmond |align="left" valign="top"|Fantasy |- |- bgcolor="#efefef" |align="left" valign="top"|1955 |align="left" valign="top"|Jazz: Red Hot And Cool |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1955 |align="left" valign="top"|Chet Baker Quartet Plus: The Newport Years, Vol. 1 |align="left" valign="top"|Chet Baker |align="left" valign="top"|Philology Records |- |- bgcolor="#efefef" |align="left" valign="top"|1956 |align="left" valign="top"|The Paul Desmond Quartet With Don Elliott |align="left" valign="top"|Paul Desmond |align="left" valign="top"|Fantasy |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1956-57 |align="left" valign="top"|Dave Brubeck Quartet Live In 1956-57 Featuring Paul Desmond |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Jazz Band |- |- bgcolor="#efefef" |align="left" valign="top"|1956 |align="left" valign="top"|Live From Basin Street |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Jazz Band |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1956 |align="left" valign="top"|Jazz Impressions Of U.S.A. |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1957 |align="left" valign="top"|Reunion |align="left" valign="top"|Dave Brubeck w/ Dave Van Kriedt |align="left" valign="top"|Fantasy |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1957 |align="left" valign="top"|Jazz Goes To Junior College |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1957 |align="left" valign="top"|Dave Digs Disney |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1957 |align="left" valign="top"|Blues in Time |align="left" valign="top"|Gerry Mulligan & Paul Desmond |align="left" valign="top"|Verve Records |- |- bgcolor="#efefef" |align="left" valign="top"|1958 |align="left" valign="top"|In Europe |align="left" valign="top"|Dave Brubeck Quartet |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1958 |align="left" valign="top"|Newport 1958 |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1958 |align="left" valign="top"|Jazz Impressions Of Eurasia |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1959 |align="left" valign="top"|Gone With the Wind |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1959 |align="left" valign="top"|Time Out |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1959 |align="left" valign="top"|St. Louis Blues |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Moon Records |- |- bgcolor="#efefef" |align="left" valign="top"|1959 |align="left" valign="top"|First Place Again! |align="left" valign="top"|Paul Desmond |align="left" valign="top"|Warner Bros. Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1960 |align="left" valign="top"|Southern Scene |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1960 |align="left" valign="top"|Brubeck and Rushing |align="left" valign="top"|Dave Brubeck w/ Jimmy Rushing |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1960 |align="left" valign="top"|Bernstein Plays Brubeck Plays Bernstein |align="left" valign="top"|Dave Brubeck w/ Leonard Bernstein |align="left" valign="top"|Columbia Records |- |- bgcolor="#efefef" |align="left" valign="top"|1960 |align="left" valign="top"|Tonight Only w/ Carmen McRae |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1961 |align="left" valign="top"|Time Further Out |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|61, 63, 64 |align="left" valign="top"|The Complete Recordings Of The Paul Desmond Quartet With Jim Hall |align="left" valign="top"|Paul Desmond |align="left" valign="top"|Mosaic Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1961 |align="left" valign="top"|Take Five With Carmen McRae |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1961 |align="left" valign="top"|Desmond Blue w/ Jim Hall |align="left" valign="top"|Paul Desmond |align="left" valign="top"|RCA Victor |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1962 |align="left" valign="top"|Countdown - Time In Outer Space |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1962 |align="left" valign="top"|Bossa Nova U.S.A. |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1962 |align="left" valign="top"|Brandenburg Gate Revisited |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1962 |align="left" valign="top"|Late Lament |align="left" valign="top"|Paul Desmond |align="left" valign="top"|RCA/Bluebird Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1962 |align="left" valign="top"|Paul Desmond/Gerry Mulligan - Two Of A Mind |align="left" valign="top"|Desmond & Mulligan |align="left" valign="top"|RCA Victor |- |- bgcolor="#efefef" |align="left" valign="top"|1962 |align="left" valign="top"|Brubeck In Amsterdam |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1963 |align="left" valign="top"|The Dave Brubeck Quartet At Carnegie Hall |align="left" valign="top"|Dave Brubeck Quartet |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1963 |align="left" valign="top"|Take Ten w/ Jim Hall |align="left" valign="top"|Paul Desmond |align="left" valign="top"|RCA Victor |- |- bgcolor="#F0F8FF" |align="left" valign="top"|63, 64, 65 |align="left" valign="top"|Easy Living |align="left" valign="top"|Paul Desmond |align="left" valign="top"|RCA Victor |- |- bgcolor="#efefef" |align="left" valign="top"|1963 |align="left" valign="top"|Glad To Be Unhappy |align="left" valign="top"|Paul Desmond |align="left" valign="top"|RCA Victor |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1963 |align="left" valign="top"|Time Changes |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1964 |align="left" valign="top"|Jazz Impressions of Japan |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1964 |align="left" valign="top"|Jazz Impressions of New York |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1964 |align="left" valign="top"|In Concert 1964 |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Jazz Connoisseur |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1964 |align="left" valign="top"|Bossa Antigua |align="left" valign="top"|Paul Desmond |align="left" valign="top"|RCA Victor |- |- bgcolor="#efefef" |align="left" valign="top"|1964 |align="left" valign="top"|Dave Brubeck In Berlin |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|CBS Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1965 |align="left" valign="top"|The Canadian Concert Of Dave Brubeck |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Can-Am Records |- |- bgcolor="#efefef" |align="left" valign="top"|1965 |align="left" valign="top"|Angel Eyes |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1965 |align="left" valign="top"|My Favorite Things |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1965 |align="left" valign="top"|Time In |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1966 |align="left" valign="top"|Anything Goes! |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1966 |align="left" valign="top"|The Quartet |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Europa Jazz |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1966 |align="left" valign="top"|Jackpot! |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1967 |align="left" valign="top"|Bravo! Brubeck! |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1967 |align="left" valign="top"|Buried Treasures |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia/Legacy |- |- bgcolor="#efefef" |align="left" valign="top"|1967 |align="left" valign="top"|Take Five Live |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Jazz Music Yesterday |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1967 |align="left" valign="top"|The Last Time We Saw Paris |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Columbia |- |- bgcolor="#efefef" |align="left" valign="top"|1968 |align="left" valign="top"|Summertime |align="left" valign="top"|Paul Desmond |align="left" valign="top"|A&M; Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1969 |align="left" valign="top"|From The Hot Afternoon |align="left" valign="top"|Paul Desmond |align="left" valign="top"|A&M; |- |- bgcolor="#efefef" |align="left" valign="top"|1969 |align="left" valign="top"|From The Hot Afternoon |align="left" valign="top"|Paul Desmond |align="left" valign="top"|Verve |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1969 |align="left" valign="top"|Bridge Over Troubled Water |align="left" valign="top"|Paul Desmond |align="left" valign="top"|A&M; |- |- bgcolor="#efefef" |align="left" valign="top"|1971 |align="left" valign="top"|The Only Recorded Performance Of Paul Desmond With The Modern Jazz Quartet |align="left" valign="top"|Paul Desmond |align="left" valign="top"|Finesse Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1972 |align="left" valign="top"|We're All Together Again For The First Time |align="left" valign="top"|Dave Brubeck/Gerry Mulligan/Paul Desmond |align="left" valign="top"|Atlantic Records |- |- bgcolor="#efefef" |align="left" valign="top"|1973 |align="left" valign="top"|Skylark |align="left" valign="top"|Paul Desmond |align="left" valign="top"|CTI Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1973 |align="left" valign="top"|Giant Box ("Song to a Seagull", "Vocalise") |align="left" valign="top"|Don Sebesky |align="left" valign="top"|CTI |- |- bgcolor="#efefef" |align="left" valign="top"|1974 |align="left" valign="top"|She Was Too Good To Me |align="left" valign="top"|Chet Baker |align="left" valign="top"|CTI |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1974 |align="left" valign="top"|Pure Desmond |align="left" valign="top"|Paul Desmond |align="left" valign="top"|CTI |- |- bgcolor="#efefef" |align="left" valign="top"|1975 |align="left" valign="top"|Like Someone In Love |align="left" valign="top"|Paul Desmond |align="left" valign="top"|Telarc Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1975 |align="left" valign="top"|Concierto |align="left" valign="top"|Jim Hall |align="left" valign="top"|CTI |- |- bgcolor="#efefef" |align="left" valign="top"|1975 |align="left" valign="top"|1975: The Duets |align="left" valign="top"|Dave Brubeck/Paul Desmond |align="left" valign="top"|Horizon Records |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1975 |align="left" valign="top"|The Paul Desmond Quartet Live |align="left" valign="top"|Paul Desmond |align="left" valign="top"|Horizon |- |- bgcolor="#efefef" |align="left" valign="top"|1976 |align="left" valign="top"|25th Anniversary Reunion |align="left" valign="top"|Dave Brubeck |align="left" valign="top"|Horizon |- |- bgcolor="#F0F8FF" |align="left" valign="top"|1977 |align="left" valign="top"|You Can't Go Home Again |align="left" valign="top"|Chet Baker |align="left" valign="top"|Horizon |- |- bgcolor="#efefef" |align="left" valign="top"|1977 |align="left" valign="top"|The Best Thing For You |align="left" valign="top"|Chet Baker |align="left" valign="top"|A&M; |- |- bgcolor="#efefef" |align="left" valign="top"|1977 |align="left" valign="top"|Watermark (Mr. Shuck 'n Jive) |align="left" valign="top"|Art Garfunkel |align="left" valign="top"|Columbia |}

Bibliography

''How Many Of You Are There In Your Quartet?'' (unpublished - for years Paul claimed to be working on an autobiography, but nothing publishable was found among his effects. All that remains is a short story by this name )

Take Five - The Public and Private Lives of Paul Desmond, by Doug Ramsey. 2005 Parkside Publications, Inc. Seattle, WA 98104 www.parksidepublications.com ISBN No. 0-9617266-7-9

Foreword by Dave and Iola Brubeck.

Excellent bio of the great lyrical alto saxophonist Paul Desmond. Author Ramsey discovered a "cache of correspondence and memos-to himself in which Desmond laid out the personal a musical philosophy that created a great modern American musician. This book is the story of a man who was unswerving in his determination to be an individualist in his art, curiously unsure of himself, and adored by his friends."

References

External links

Category:1924 births Category:1977 deaths Category:American jazz alto saxophonists Category:American jazz composers Category:American military personnel of World War II Category:Cool jazz saxophonists Category:Mainstream jazz saxophonists Category:People from San Francisco, California Category:West Coast jazz saxophonists Category:RCA Victor artists

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