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And unlike LaFaro in the 60s, 70s technology allowed Thompson's bass to be properly mic'd and heard and appreciated.A performance that showcases Desmond's skill, sensitivity, and utter originality. Jerry Fuller is not given a great deal of opportunity to stretch out, but his brushwork & timekeeping are impeccable. Don Thompson is nothing short of a latter day Scott LaFaro. Paul Desmond at the peak of his powers, despite suffering from the lung cancer that would take him from us not long after this gig.I remember reading an account of Desmond asking Jim Hall to recommend musicians to work with in Canada. Desert island material for little ol' moi. Ask for a guitar player named Ed Bickert.""He's good." Desmond asked."He's the only cat that scares me when I walk into the room" Hall replied.Bickert pulls some amazing chords out of his axe, and is clearly listening to and communicating with the other players; and they with him. Hall reportedly advised "don't use piano. Desmond's work here is riveting - among the best ever documented.
He can be equally hot and sweet--simply listen to some of the recordings (especially "Jazz at Oberlin") before "Time Out." It's Konitz, with whom he's frequently compared, who can sound repetitiously cold, cerebral, and even "sour" compared to the inviting warm glow and unprogrammed, ceaselessly inventive wit of a good Desmond solo. Or maybe the presence of Brubeck is vital to appreciating fully the contrasting warmth of his sound, the inspired lyricism of his lines. The words "cool" and "dry martini," as frequently as they're applied to Desmond, do him an injustice. Of all the dates under Paul's leadership, this is the last and the best. But the man was also a closet virtuoso, capable of emulating Johnny Hodges, on the one hand, and Charlie Parker (who was a Desmond admirer) on the other--when he chose to, which was infrequent lest he sound like merely another "great horn player." That he chose to remain himself, leaving behind virtually no imitators, speaks less to his lack of influence than his inimitable genius. At the same time, this is a date more likely to impress Desmond fans than younger listeners unfamiliar with his musical-historical importance. Paul's tone is "up close and personal," his lines so clear and economical within the spare setting of a pianoless trio that hearing the recording is like being a witness to the artist's very thought processes. One wishes that he would extend each of his solos ("Things Ain't What They Used to Be" is a happy exception) for another chorus or two rather than be so deferential to his supporting trio.
Doesn't get any better than this. If you are looking for an album like "Pure Gold" this is it. It's Desmond live with Don Thompson on Bass and Ed Bickert on guitar.
Five stars for the performances. The original LP of "Live" was just right and I wish that Don Thompson, the bass player and engineer, had not turned up his own volume on the CD release as if the bass is constantly soloing in the foreground of the group. Still, it's a great group with Desmond at his most relaxed and witty best. This is a great album that has unfortunately been REMASTERED with the BASS CRANKED UP WAY TOO HIGH, at least for my taste. There was no one like Paul - a treasure. The Telarc CD "Like Someone In Love," with the same great line-up, is not as sonically clear, but the balance of the group is just right. So the bass constantly beats you over the head when it should be in balance with the rest of this wonderful group. Nevertheless, if you're a Desmond fan "Live" has marvelous performances and is a great addition to round out your library.
This album is more Paul Desmond at his best. I first got to know Paul Desmond through Dave Brubeck and the Take Five album.
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