Paul Desmond | |
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 Desmondc. 1962 | |
| Background information | |
| Born | Paul Emil Breitenfeld (1924-11-25)November 25, 1924 San Francisco, California, U.S. |
| Died | May 30, 1977(1977-05-30) (aged 52) New York City, U.S. |
| Genres | |
| Occupations |
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| Instruments | |
| Years active | 1940s–1977 |
| Labels | |
| Formerly of | The Dave Brubeck Quartet |
Paul Desmond (bornPaul Emil Breitenfeld; November 25, 1924 – May 30, 1977)[1] was an American jazzalto saxophonist and composer and proponent ofcool jazz. He was a member of theDave Brubeck Quartet[2] and composed the group's biggest hit, "Take Five". The song remains the best-selling jazz song of all time.
In addition to his work with Brubeck, he led several groups and collaborated withGerry Mulligan,Chet Baker,Jim Hall, andEd Bickert. After years of chain smoking and poor health, Desmond succumbed tolung cancer in 1977 after a tour with Brubeck.
Desmond was born Paul Emil Breitenfeld inSan Francisco,California, in 1924, the son of Shirley (née King) and Emil Aron Breitenfeld.[3] His grandfather Sigmund Breitenfeld, a medical doctor, was born on 17 November 1857,[4] inČeská Kamenice inBohemia; he emigrated to the US in 1885[5] and on 2 May 1886, in New York, married Hermina Lewy.[6] They had four children (including Emil, father of Paul Emil). Paul Desmond and members of his father's family "frequently speculated as to whether Sigmund or Hermine Breitenfeld had Jewish backgrounds", but they did not identify as Jewish, or observe Jewish traditions.[7] However,Fred Barton, songwriter/arranger and Desmond's cousin, found extensive genealogical proof that both the Breitenfeld and Löwy families wereBohemian Jews. The Breitenfeld family inBohemia andVienna featured musicians in every generation throughout the 1800s, 1900s, and to the present day. Desmond's mother, born Shirley King, was of anIrish Catholic family.[3]
Desmond's father Emil Breitenfeld was a pianist, organist, arranger, and composer who accompanied silent films in movie theaters and produced musical arrangements for printed publication and for live theatrical productions. DuringWorld War I, while training with the 17th New York Regiment inPlattsburgh, New York, he composedThe Last Long Mile, one of the best-known soldiers' songs of that war.[8]
Desmond's mother Shirley was emotionally unstable throughout his upbringing, and appears to have suffered fromobsessive–compulsive disorder and other mental illnesses.[3] Starting in 1933, Desmond spent nearly five years living with relatives inNew Rochelle, New York due to his mother's mental health problems.
Desmond began playing theclarinet at age twelve, and continued throughout his time atSan Francisco Polytechnic High School. While in high school, Desmond wanted to study theviolin, but his father dissuaded him, saying that violin players were "a dime a dozen....with the violin, you'll starve."[3] Desmond developed a talent for writing during high school as well, becoming co-editor of his high school newspaper. In that capacity, he interviewed comedianBob Hope for his school newspaper during one of Hope's visits to San Francisco. After high school, Desmond enrolled atSan Francisco State College where he majored inEnglish. While in college, Desmond began playing thealto saxophone, after being influenced by the likes ofLester Young andCharlie Parker. In his first year of college, Desmond was drafted into theUnited States Army and joined the Army band while stationed in San Francisco. He spent three years in the military, but his unit was not called to combat.[9]
Following his military discharge, Paul Emil Breitenfeld legally changed his last name from Breitenfeld to Desmond in 1946. He told many stories over the years regarding how he chose the name Desmond, but his biographer Doug Ramsey offers an account from Desmond's friend Hal Strack that the two were listening to theGlenn Miller band singerJohnny Desmond in 1942, and Desmond told Strack "that's such a great name. It's so smooth and yet it's uncommon....If I ever decide I need another name, it's going to be Desmond."[3]
Desmond was married from 1947 to 1949 to Duane Reeves Lamon.[10] He never remarried.[3]
AfterWorld War II, Desmond started working in theSan Francisco Bay Area, working as a backing musician. He worked occasionally forDave Brubeck at the Geary Cellar in San Francisco. For several weeks, he led a small jazz combo at the Band Box inRedwood City that included Dave Brubeck. Desmond had a falling out with Brubeck when he resigned from the Band Box and prevented Brubeck from taking over the residency.[3] In 1950, Desmond joined the band ofJack Fina and toured with Fina for several months, but he returned to California after hearing Brubeck's trio on the radio and deciding that he should repair his relationship with Brubeck and attempt to join Brubeck's increasingly successful band.
At the time, Brubeck and his wife Iola had three small children, and Brubeck had instructed Iola not to let Desmond set foot in the family home. Desmond appeared at Brubeck's San Francisco apartment one day while Dave was in the back yard hanging diapers on a laundry line, and Iola, defying Brubeck's wishes, let Desmond in and took him to Dave. Desmond offered to perform arranging and administrative work for Brubeck's band, and to babysit Brubeck's children, and Brubeck finally relented and agreed to try working with Desmond again.[9]
Some people called him the stork—'Cause he would stand on one leg and leaned on the piano. But that ... that was when he was playing great. What used to scare me is I'd look at him and it would just be whites in his eyes, wouldn't be any eyeballs.
Desmond metDave Brubeck in 1944 in the military. Brubeck was trying out for the 253rd Army band, to which Desmond belonged. After making the cut he—unlike Desmond—was sent overseas in 1944, to Europe. Desmond once toldMarian McPartland ofNational Public Radio'sPiano Jazz that he was taken aback by the chord changes which Brubeck introduced during that 1944 audition. After Desmond persuaded Brubeck to hire him following his stint withJack Fina, the two had a contract drafted (of which Brubeck was the sole signatory); the wording forbade Brubeck from firing him, ensured Brubeck's status as group leader, and gave Desmond twenty percent of all profits generated from the quartet.[9][12] This established the Dave Brubeck Quartet, which lasted from 1951 to December 1967.
The quartet became especially popular with college-age audiences, often performing in college settings, including their ground-breaking 1953 albumJazz at Oberlin atOberlin College and at the campuses ofOhio University and theUniversity of Michigan. The success of the quartet led to aTime magazine piece on them in 1954, with the famous cover featuring Brubeck's face.[13]
After drummerJoe Dodge decided to leave the group,Joe Morello joined in late 1956, on Desmond's recommendation. Despite this, differences in musical aspirations and taste made their relationship a tense one for many years. Desmond hoped for a "tinky-boom" background-type drummer while Morello wanted to be recognized and featured. During Morello's first performance with the group, he was featured by Brubeck and received an ovation from the audience for his solo. Desmond resented this, and threatened to leave the group. Brubeck managed to keep both Desmond and Morello in the group but with frictions between them for years. Desmond's grudge against Morello could also be heard during their performance. In their 'Take The ‘A’ Train' performance inHanover, Germany in 1958, for example, Desmond's playing sounded lackluster and uninterested. After a passage of rhythmically complex playing from Morello, Desmond would sometimes play very quietly and or even drop out for a few bars. In their later years they reconciled and became close friends.[14]
The Dave Brubeck Quartet played until 1967, when Brubeck switched his musical focus from performance to composition[citation needed] and dissolved the group[disputed (for: Desmond wanted to leave) –discuss]. During the 1970s Desmond joined Brubeck for several reunion tours, including "Two Generations of Brubeck". Accompanying them were Brubeck's sonsChris Brubeck, Dan Brubeck andDarius Brubeck. In 1976 Desmond played 25 shows in 25 nights with Brubeck, touring the United States by bus.
Playing with Desmond and Mulligan was really mind-blowing because they were such heroes for me.
Desmond worked several times during his career with baritone saxophonist and band leaderGerry Mulligan. They made two studio albums together (Gerry Mulligan - Paul Desmond Quartet (1957), andTwo of a Mind (1962)). In June 1969 Desmond appeared at theNew Orleans Jazz Festival with Gerry Mulligan, with favorable reactions from critics and audience members.[9] During Brubeck'sTwo Generations tours, Desmond and Mulligan shared the stage in 1974. Unlike Brubeck, Mulligan had much in common with Desmond; they were similar in their interests and humor, and both were prone to addiction.[15]
Desmond had a celebrated studio partnership with guitaristJim Hall. Hall played on several albums recorded by Desmond between 1959 and 1963 for Warner Bros. and RCA Victor. After a period of inactivity, Desmond was asked to play the Half Note in New York City in 1971 by Hall. With his customary wryness, Desmond said that he took the job only because he was nearby and could tumble out of bed to work. The two continued to play at the club to packed audiences. Desmond also joined theModern Jazz Quartet for a Christmas concert in 1971 at theNew York Town Hall.[9]
Desmond was a guest artist on five tracks byChet Baker recorded between 1975 and 1977. These were released on the albumsShe Was Too Good to Me (CTI, 1974),You Can't Go Home Again, andThe Best Thing for You. Baker and Desmond also appeared together on two tracks included on Jim Hall's 1975Concierto album.
Desmond met Canadian guitaristEd Bickert through a recommendation by Jim Hall, and Desmond performed with Bickert at several clubs in the Toronto area during 1974–1975. Desmond featured Bickert on his 1975 studio albumPure Desmond, and the two played together at the 1976Edmonton Jazz Festival. Live recordings of that concert and club dates with Bickert performed during 1974-1975 were released during and after Desmond's lifetime.
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 his death. Desmond was also described as awomanizer who was unable to form (and was uninterested in maintaining) steady relationships with women, though he had no shortage of female companions throughout his life.[16] Desmond is reported to have quipped, upon seeing a former girlfriend on the street, "There she goes, not with a whim but a banker" (a semi-Spoonerism reference to T.S. Eliot's "This is the way the world ends / Not with a bang but a whimper"). In contrast, Brubeck was deeply religious and a stalwart family man.[12]
I have won several prizes as the world's slowest alto player, as well as a special award in 1961 for quietness.
Desmond enjoyed reading works by thinkers of his generation likeTimothy Leary andJack Kerouac who advocated or relied upon the use of recreational drugs, and sometimes usedLSD. He had several addictions, includingDewar'sScotch whisky andPall Mall cigarettes. In the 1940s and 1950s, Desmond frequently tookamphetamines, and in the 1970s he was known to usecocaine.[3] His chemical dependency problems would sometimes drain him of energy on the road. ClarinetistPerry Robinson recalls in his autobiography that Desmond would sometimes need avitamin B12 shot just to go on playing during his later career.[15]
Pristine, perfect. One of the great livers of our time. Awash in Dewar's and full of health.
Desmond died on May 30, 1977, not of his heavy alcohol habit but of lung cancer, the result of his longtime heavy smoking. He was 52. 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 were unaware of his rapidly declining health. Desmond specified in his will that all proceeds from "Take Five" would go to theRed Cross following his death.[18] Desmond reportedly owned a Baldwin grand piano, which he lent toBradley Cunningham, owner of Bradley's piano bar inGreenwich Village, provided that Cunningham 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 Cunningham, a characteristic and final prank. The Paul Desmond Papers (and otherBrubeck adjacent archival collections) are held at the Holt-Atherton Special Collections and Archives in theUniversity of the Pacific Library.
Desmond was cremated and his ashes were scattered.
Desmond produced a light, melodic tone on the alto saxophone, trying to sound, he said, "like a drymartini." With a style that was similar to that ofLee Konitz, one of his influences, he quickly became one of the best-known saxophonists from theWest Coast'scool 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.[19]
Desmond's improvisation is praised for its logical structure andlyricism.[20] His gift forimprovisedcounterpoint is perhaps most evident on his two albums with baritone saxophonistGerry Mulligan (Mulligan-Desmond Quartet andTwo of a Mind). In his playing Desmond was also notable for his ability to produce extremely high notes, thealtissimo register, on his saxophone.
Desmond played aSelmerSuper Balanced Action model alto saxophone with an M. C. Gregory model 4A-18M hard rubber mouthpiece, both dating from circa 1951, with a moderately stiff Rico 3 ½ reed.[21]
| Year | Album | Leader | Label |
|---|---|---|---|
| 1950 | Dave Brubeck Octet | Dave Brubeck | Fantasy 3239 |
| 1951 | Brubeck/Desmond | Dave Brubeck Quartet | Fantasy 3229 |
| 1952 | Modern Complex Dialogues [live] | Dave Brubeck | Alto AL-711 |
| 1952 | Jazz at Storyville | Dave Brubeck | Fantasy 3240 |
| 1952 | The Dave Brubeck Quartet | Dave Brubeck | Fantasy 3230 |
| 1952 | Jazz at the Blackhawk | Dave Brubeck | Fantasy 3210 |
| 1953 | Jazz at Oberlin | Dave Brubeck | Fantasy 3245 |
| 1953 | The Jackson-Harris Herd/The Dave Brubeck Quartet: Live at the Blue Note, Chicago, March 1953 | Dave Brubeck Quartet,Chubby Jackson–Bill Harris Herd | Jazz Band (UK) EB-2140 |
| 1953 | Brubeck & Desmond at Wilshire-Ebell | Dave Brubeck | Fantasy 3249 |
| 1953 | Jazz at the College of the Pacific | Dave Brubeck | Fantasy 3223 |
| 1953 | Jazz at the College of the Pacific, Volume 2 | Dave Brubeck | OJC 1076 |
| 1954 | Dave Brubeck at Storyville 1954 | Dave Brubeck | Columbia CL-590 |
| 1954 | Jazz Goes to College | Dave Brubeck | Columbia CL-566 |
| 1954 | Brubeck Time | Dave Brubeck | Columbia CL-622 |
| 1954 | Jazz: Red Hot and Cool [live] | Dave Brubeck | Columbia CL-699 |
| 1956, 1957 | Dave Brubeck Quartet Live in 1956–57 Featuring Paul Desmond | Dave Brubeck | Jazz Band (UK) EB-2102 |
| 1956 | Live From Basin Street | Dave Brubeck | Jazz Band (UK) EB-402 |
| 1956 | Dave Brubeck and Jay & Kai at Newport | Dave Brubeck Quartet,J. J. Johnson–Kai Winding Quintet | Columbia CL-932 |
| 1956 | Dave Brubeck Featuring Paul Desmond: Live Together | Dave Brubeck | Joker (Italy) SM-3804; Blue Vox (Switzerland) B/90174 |
| 1956 | Jazz Impressions of the U.S.A. | Dave Brubeck | Columbia CL-984 |
| 1957 | Re-Union | Dave Brubeck/Paul Desmond/Dave Van Kriedt | Fantasy 3268 |
| 1957 | Jazz Goes to Junior College | Dave Brubeck | Columbia CL-1034 |
| 1957 | Dave Digs Disney | Dave Brubeck | Columbia CL-1059 |
| 1958 | The Dave Brubeck Quartet In Europe | Dave Brubeck | Columbia CL-1168 |
| 1958 | Newport 1958: Brubeck Plays Ellington | Dave Brubeck | Columbia CL-1249 |
| 1958 | Jazz Impressions of Eurasia | Dave Brubeck | Columbia CL-1251 |
| 1958 | The Quartet [live] | Dave Brubeck | Europa Jazz (Italy) EJ-1032; Denon (Japan) 33C38-7681 |
| 1959 | Gone with the Wind | Dave Brubeck | Columbia CL-1347/CS-8156 |
| 1959 | Time Out [includes "Take Five"] | Dave Brubeck Quartet | Columbia CL-1397/CS-8192 |
| 1959, 1962 | St. Louis Blues [live] | Dave Brubeck | Moon (Italy) MLP-028 |
| 1959 | Southern Scene | Dave Brubeck | Columbia CL-1439/CS-8235 |
| 1960 | Brubeck and Rushing | Dave Brubeck w/Jimmy Rushing | Columbia CL-1553/CS-8353 |
| 1960 | Bernstein Plays Brubeck Plays Bernstein | Dave Brubeck w/Leonard Bernstein, New York Philharmonic | Columbia CL-1466/CS-8257 |
| 1960 | Tonight Only! | Dave Brubeck w/Carmen McRae | Columbia CL-1609/CS-8409 |
| 1961 | Time Further Out: Miro Reflections | Dave Brubeck | Columbia CL-1690/CS-8490 |
| 1961, 1962 | Countdown—Time in Outer Space | Dave Brubeck | Columbia CL-1775/CS-8575 |
| 1961 | Brandenburg Gate: Revisited | Dave Brubeck | Columbia CL-1963/CS-8763 |
| 1961 | Take Five Live | Dave Brubeck w/ Carmen McRae | Columbia CL-2316/CS-9116 |
| 1962 | Bossa Nova U.S.A. | Dave Brubeck | Columbia CL-1998/CS-8798 |
| 1962 | Brubeck in Amsterdam | Dave Brubeck | Columbia CS-9897 |
| 1963 | At Carnegie Hall | Dave Brubeck Quartet | Columbia C2L-26/C2S-826 [as double LP]; CL-2036/CS-8836 and CL-2037/CS-8837 [as single LPs] |
| 1963 | Time Changes | Dave Brubeck | Columbia CL-2127/CS-8927 |
| 1964 | Jazz Impressions of Japan | Dave Brubeck | Columbia CL-2212/CS-9012 |
| 1964 | Jazz Impressions of New York | Dave Brubeck | Columbia CL-2275/CS-9075 |
| 1964 | In Concert 1964 | Dave Brubeck | Jazz Connoisseur (Israel) JC-003 |
| 1964 | Dave Brubeck in Berlin | Dave Brubeck | CBS (Germany) 62578 |
| 1965 | The Canadian Concert of Dave Brubeck | Dave Brubeck | Can-Am (Canada) 1500 |
| 1965 | Angel Eyes | Dave Brubeck | Columbia CL-2348/CS-9148 |
| 1965 | My Favorite Things | Dave Brubeck | Columbia CL-2437/CS-9237 |
| 1965 | Time In | Dave Brubeck | Columbia CL-2512/CS-9312 |
| 1966 | Dave Brubeck's Greatest Hits [compilation] | Dave Brubeck | Columbia CL-2484/CS-9284 |
| 1966 | Anything Goes! The Dave Brubeck Quartet Plays Cole Porter | Dave Brubeck | Columbia CL-2602/CS-9402 |
| 1966 | Jackpot! Recorded Live in Las Vegas | Dave Brubeck | Columbia CL-2712/CS-9512 |
| 1967 | Bravo! Brubeck! [live] | Dave Brubeck | Columbia CL-2695/CS-9495 |
| 1967 | Buried Treasures: Recorded Live in Mexico City | Dave Brubeck | Columbia/Legacy CK-65777 |
| 1967 | Take Five Live | Dave Brubeck | JMY (Italy) 1001 |
| 1967 | The Last Time We Saw Paris [live] | Dave Brubeck | Columbia CL-2872/CS-9672 |
| 1967 | Their Last Time Out: The Unreleased Live Concert, December 26, 1967 | Dave Brubeck Quartet | Columbia/Legacy 886978156228 |
| 1971 | Summit Sessions | Dave Brubeck | Columbia C-30522 |
| 1972 | We're All Together Again for the First Time | Dave Brubeck/Gerry Mulligan/Paul Desmond | Atlantic SD-1641 |
| 1975 | 1975: The Duets | Dave Brubeck/Paul Desmond | Horizon/A&M SP-703 |
| 1976 | 25th Anniversary Reunion | Dave Brubeck Quartet | Horizon/A&M SP-714 |
| Year | Album | Leader | Label |
|---|---|---|---|
| 1954 | Desmond (AKAPaul Desmond Quintet With The Bill Bates Singers) | Paul Desmond w/ Dick Collins,Dave Van Kriedt | Fantasy 3-21 |
| 1956 | Desmond: Here I AM (AKAThe Paul Desmond Quartet Featuring Don Elliott) | Paul Desmond w/Don Elliott | Fantasy 3225 |
| 1959 | First Place Again | Paul Desmond | Warner Bros. WS-1356 |
| 1962 | Desmond Blue | Paul Desmond w/ strings | RCA Victor LSP-2438 |
| 1962 | Late Lament [reissue ofDesmond Blue with different cover art, different track running order, plus three previously unreleased tracks from the same sessions] | Paul Desmond | RCA/Bluebird 5778-2-RB |
| 1963 | Take Ten | Paul Desmond | RCA Victor LSP-2569 |
| 1965 | Glad to Be Unhappy | Paul Desmond featuring Jim Hall | RCA Victor LSP-3407 |
| 1965 | Bossa Antigua | Paul Desmond featuring Jim Hall | RCA Victor LSP-3320 |
| 1966 | Easy Living | Paul Desmond featuring Jim Hall | RCA Victor LSP-3480 |
| 1969 | Summertime | Paul Desmond | A&M/CTI SP-3015 |
| 1969 | From the Hot Afternoon | Paul Desmond | A&M/CTI SP-3024 |
| 1970 | Bridge over Troubled Water | Paul Desmond | A&M/CTI SP-3032 |
| 1974 | Skylark | Paul Desmond | CTI 6039 |
| 1974 | Pure Desmond | Paul Desmond | CTI 6059 |
| 1975 | Live | Paul Desmond Quartet | Horizon/A&M SP-850 |
| 1976 | Paul Desmond | Paul Desmond w/ Ed Bickert | Artists House AH-2 |
| 1989 | The Complete Recordings of the Paul Desmond Quartet With Jim Hall [posthumous box set][22] | Paul Desmond w/ Jim Hall | Mosaic MR6-120 |
| 1992 | Like Someone in Love [recorded 1975] | Paul Desmond Quartet | Telarc 83319 |
| 2020 | The Complete 1975 Toronto Recordings- 7 CD box [recorded 1975] | Paul Desmond Quartet | Mosaic MD7-269 |
| Year | Album | Leader | Label |
|---|---|---|---|
| 1954 | Gerry Mulligan/Paul Desmond [reissues] | Paul Desmond Quintet/Quartet,Gerry Mulligan Quartet | Fantasy 3220 |
| 1957 | Blues in Time (AKAGerry Mulligan–Paul Desmond Quartet) | Paul Desmond w/ Gerry Mulligan | Verve MGV-8246 |
| 1962 | Two of a Mind | Paul Desmond w/ Gerry Mulligan | RCA Victor LPM-2624 |
| Year | Album | Leader | Label |
|---|---|---|---|
| 1955 | Chet Baker Quartet Plus: The Newport Years, Vol. 1 [live] | Chet Baker /Clifford Brown / Gerry Mulligan / Dave Brubeck | Philology (Italy) W-51 |
| 1974 | She Was Too Good to Me | Chet Baker | CTI 6050 |
| 1975 | Concierto | Jim Hall / Chet Baker | CTI 6060 |
| 1977 | You Can't Go Home Again | Chet Baker | Horizon/A&M SP-726 |
| 1977 | The Best Thing for You | Chet Baker | A&M 0832 |
| 1992 | Together: The Complete Studio Recordings | Chet Baker / Paul Desmond | Epic 472984 2 |
| Year | Album | Leader | Label |
|---|---|---|---|
| 1951 | "How Long, Baby How Long, Pt. 1" // "How Long, Baby How Long, Pt. 2" [78rpm 10" disc] | Jack Sheedy Sextet | Coronet 109 |
| 1951 | "The Man I Love" // "Down In Honkytonk Town" [78rpm 10" disc] | Jack Sheedy Sextet | Coronet 110 |
| 1971 | The Only Recorded Performance of Paul Desmond WithThe Modern Jazz Quartet [live] | Paul Desmond w/The Modern Jazz Quartet | Finesse/Columbia FW 37487 |
| 1973 | Giant Box | Don Sebesky | CTI 6031/32 |
| 1975 | Concierto | Jim Hall | CTI 6060 |
| 1977 | Watermark | Art Garfunkel | Columbia JC 34975 |
| 1996 | Feeling Blue | compilation | Camden/BMG 74321-40055 |
When Paul Desmond passed away in 1977, his will stipulated that royalties from this song and his other compositions go to the American Red Cross. Since then, the Red Cross has received more than $6 million from Desmond's bequest.
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