In the sleeve liner notes of, ‘From the Hot Afternoon’, Paul Desmond is asked about his tone, “I had the vague idea that I wanted to sound like a dry martini,” was his response to how he had developed his style.
There are moments on this album when you believe that the Bossa Nova was created especially for Paul Desmond’s dry martini like tone. He has this unique ability to perfectly accompany the tune, gently and intelligently guiding it to an understated hurrah – this man definitely knows what ‘dry’ in martini means and this album will offer you definitive proof.
The album even surpasses the Bossa Antigue project which he completed with Jim Hall, that was exceptional but this somehow has a little more, ‘something’ to it, perhaps this is a five martini glass album plus the olives. It features Don Sebesky, Dorio Ferreira, Edu Lobo; Ron Carter; Airto Moreira and on vocals on a few of the tracks is Wanda de Sah who is just yummy, her transient, whispering and blurringly, nonchalant, melodic style, a perfect fit for these sweet, textured, Brazilian standards.
Another, yet another, must have album, yes, “Blame it on the Bossa Nova”
Favourite tracks?
I like them all but I’ll highlight: Circles and October for your enjoyment.
As it appeared on ’2007-06-05′ in the reclaimed a little too much jazz archives.
Gene Lees (original LP liner notes):
But back to that question of his tone, and how he developed it.
“I had the vague idea that I wanted to sound like a dry martini,” he said.
And that is a real Paul Desmondism. Once you think about it, that is the sound he gets. Paul Desmond sounds like a dry martini. An imaginative, intelligent, astonishingly articulate, very dry martini.
This morning I drove in with this cd in the player and I wished I could sound like a dry martini…And people say I’ve got no ambition.