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- Paul Desmond’s impact on jazz extends far beyond the years he spent on stage. His influence is heard in the work of countless saxophonists who have been inspired by his distinctive sound. The “cool jazz” movement owes much to Desmond’s ability to infuse warmth into the genre.
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Paul Desmond (born Paul Emil Breitenfeld; November 25, 1924 – May 30, 1977) [1] was an American jazz alto saxophonist and composer and proponent of cool jazz. He was a member of the Dave Brubeck Quartet and composed that group's biggest hit, " Take Five ".
Nov 25, 2023 · Paul Desmond’s impact on jazz extends far beyond the years he spent on stage. His influence is heard in the work of countless saxophonists who have been inspired by his distinctive sound. The “cool jazz” movement owes much to Desmond’s ability to infuse warmth into the genre.
Nov 30, 2023 · For seventeen years he was the lead soloist in the most commercially successful jazz combo ever, the Dave Brubeck Quartet. In an era that worshipped the frenetic, bebop style of Charlie Parker, Paul Desmond found his own sound, a tone that he claimed imitated a "dry martini."
In three interviews between 1963 and 1972 Desmond discusses his influences, musical education, playing jazz with a large orchestra and his dislike of some aspects of current jazz. In this first interview Les Tomkins explores his wit, early years as a musician and his playing style.
Dec 6, 2021 · Desmond’s effect on jazz is often understated due to his position in jazz history, being a pioneer of a subgenre which is often discounted within the jazz community, even though his impact on how the alto saxophone is conventionally played is painfully apparent in an abundance of musicians today.
- Wes Gibson
Feb 19, 2024 · Paul Desmond’s music influenced the jazz genre in several significant ways. He was one of a generation of players influenced by Lester Young but used a purer, more outspoken tone, and he was...
In three interviews between 1963 and 1972 Desmond discusses his influences, musical education, playing jazz with a large orchestra and his dislike of some aspects of current jazz. In this second interview from 1963 he chats to Les Tomkins about avant-garde jazz, playing away from the Brubeck quartet and his own private record collection.
