Jim Hall Music

An easy listening album with some classic standards. The interfacing of Jim Hall's guitar and Desmond's horn is on the mellow side and misses the driving interlacing of a Desmond and Brubeck track. All in all with all consideration for experimentation, a good album of individual performing although it could have been stronger in the point - counterpoint mix.

I've often felt that Paul Desmond never really got the respect and recognition that he deserved as a jazz saxophonist. Part of the reason may have been his role in the Dave Brubeck quartet and the limitations it may have placed on his personal role in order to further the overall direction of the group. In his setting here, with guitarist Jim Hall, you will hear a Paul Desmond with much greater drive and intensity but the same eloquent and sophisticated harmonic conception that marked all of his work. There has never been a better motivic improvisor in jazz with the chops and the intellect to continue to fit his improvisational ideas into the chordal frame-work of whatever tune he was playing. I think that especially on "I Get a Kick out of You" for example, listeners will hear an intensity and swing that erase any doubt as to his legacy in the history of jazz alto saxophone. It brings to mind his collaborations with Gerry Mulligan and their two very successful recordings. If you don't have any Desmond recordings away from the Brubeck quartet, I urge you to buy this one. I think you'll thoroughly enjoy it. By the way, Jim Hall is no slouch, either. His spare, thoughtful solo creations seem to be a perfect compliment to Desmond's alto. I would give it my highest personal recommendation as a jazz listener and as a jazz saxophonist for over forty years.

I bought this CD specifically for Bill Evans "Peace Piece", and unfortunately, this arrangement sounds nothing like what I expected. Very somber recording, overall.

The beautiful music of Bill Evans- reinterpreted here by the wonderful Kronos Quartet. This and the Thelonious Monk set are well worth accquiring.

I bought this CD specifically for Bill Evans "Peace Piece", and unfortunately, this arrangement sounds nothing like what I expected. Very somber recording, overall.

The beautiful music of Bill Evans- reinterpreted here by the wonderful Kronos Quartet. This and the Thelonious Monk set are well worth accquiring.

I must say I have enjoyed this score over the years, however, the play does drag and presents itself much better in a concert version, which we are seeing alot of these days of older musicals...Must add that there is a 20 minute clip of original Broadway Cast performing music from the show in full costume with sets on the Ed Sullivan Show from December, 1958, shortly after the show opened on the Internet...it is quite fun to see all of the major stars of the original show performing their numbers, while show is fresh on Broadway...we see Miyoshi Umeki (I am going to like it here), Pat Sazuki (I Enjoy being a girl) Larry Blyden (Sunday), Love Look Away, etc.. also great to see Juantia Hall perform her numbers....many of these stars are now gone (Hall, Umeki, and Larry Blyden, who was killed in a vehicular accident in Morroco at the age of 49...enjoy a great recording!!

Sounds great! I enjoyed this as an album in my youth. And, I've seen the movie numerous times. Of course, the broadway recording is not a perfect match to a movie soundtrack, but I'm enjoying it for what it is.

great cd. could not find anywhere. Amazon to the rescue. And its easy to order and pay.

I was introduced to the original cast of FLOWER DRUM SONG, as a small child, on vinyl. For me, some of the songs (written by Rodgers & Hammerstein) made such an impression that I memorized them in record time and sang them to myself quite loudly! It wasn't until later that I came to recognize the themes of intergenerational and intercultural tensions that arise in this story, set in San Francisco's Chinatown. The original cast shines here, with some of the finest jazzy vocals (including Juanita Hall and Pat Suzuki).

We see an example of a more "traditional" woman, just arriving in the United States from China (played by Miyoshi Umeki) and a modernized woman (Pat Suzuki). They both sing songs that reflect their natures ("I Am Going to Like It Here," is sung by the newly-arrived Mei Li and "I Enjoy Being a Girl" is sung by the fiesty Linda Low, who juggles boyfriends like balls in the air). There are also numerous songs reflecting the tensions ("The Other Generation," "Love Look Away") and joys ("Sunday," "You Are Beautiful") experienced by a community of people brought together by culture, yet divided by cultural awareness and experience.

Though, some may criticize FLOWER DRUM SONG for its stereotypical depictions of the "generic" and presumed Asian experience, I found that the musical possesses a lot of heart and the music totally memorable. I can still remember the lyrics to some of the songs--especially, "I Enjoy Being a Girl," which is really an anthem to all women who enjoy being who they are (yes, it is decidedly "anti-feminist" in nature, but it's fun and upbeat). You will enjoy this, too. Pat Suzuki, a legend in the jazz scene, was a great performer and brought such sass and sauciness to her role as Linda Low here, as well as Jack Soo (BARNEY MILLER), who appeared in this musical. Give it a chance and I think you will enjoy it.

The first instinct is to lump this with flops like "Allegro" thanks to its trouble-plagued casting and staging; but all things told (not least of which R&H's hospital stays during production) it's a very fine and apt score, with one of their best songs, the ethereal "Love, Look Away", the sort of thing with its slow, swingy rhythm that should have spread to the world of close harmony (i.e., the doo-woppers) but never did. Hammerstein did some of his most ingenious lyric writing, searching out new rhythms and templates. He must also take blame for turning "I Enjoy Being a Girl" into too much the cross of "A Wonderful Guy" and "Honey Bun" (and yes, someone should have instructed Pat Suzuki about her bikini), and one wonders what if anything went through Oscar's head as he wrote the dummy-like list for "Chop Suey": "Harry Truman, Truman Ca-POAT and Dewey....Hear that lovely 'La Paloma'/Lullaby by Perry COMA...." (Listen for yourself -- this is precisely how the great Juanita Hall sings it.) With R&H one member of the partnership almost always pulled the other out of the muck, and however dubious the project (the politically-correct revival underlined that) they almost always found it within them to create haunting and invigorating tunes -- as most certainly here.

Gary McFarland was an immensely talented musician & composer/arranger who died much too young. This recording happened because he studied with Bill Evans, and when Evans agreed to appear on a recording with him, wrote a "suite" around the particular skills Evans had in such abundance. This album is a sequence of effects: very light, like a Manet painting, that are masterfully done. Evans fans may be disappointed that is isn't more "deep", but that is not its intention. McFarland's talent was wasted a lot of commercial work, but in outings like this, he is absolutely superb. I have the recording on a original commercial RtoR tape, and consider it one of the gems of my collection.