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Paul Desmond & Jim Hall - (1964) Bossa Antigua
FLAC separated, EAC no CUE 379MB | MP3 320kbps 133MB | Covers | Play Time 58:45 Tracks 11
Genre: Jazz | Label: BMG France | Year: 2000

The nonchalant, caressing sounds of the airiest off all alto-players, plus an elegantly suggestive guitarist. That's what you call a meeting. A repertoire of make-beleive bossas even better than the real thing. (Alex Dutilh, Jazzman)

Personnel:
Paul Desmond (alto saxophone)
Jim Hall (guitar)
Eugene Wright (bass)
Connie Kay (drums)
*Gene Cherico - (bass on #9)

“ No one plays ballads any sweeter, with any more feeling than Paul Desmond. After listening to this CD I start to think that noone plays bossa-nova like Desmond. My favorite track is number four: Samba Cantina. (Amazon) ”

Track List:
01. 4:43 Bossa Antigua (Desmond)
02. 5:04 The Night Has a Thousand Eyes (Bernier, Brainin)
03. 4:33 O Gato (Herbert)
04. 5:38 Samba Cantina (Desmond)
05. 4:30 Curacao Doloroso (Desmond)
06. 6:18 A Ship Without a Sail (Hart, Rodgers)
07. 4:29 Alianca (Desmond)
08. 6:13 The Girl from East 9th Street (Desmond)
09. 7:18 The Night Has a Thousand Eyes [at] (Bernier, Brainin)
10. 5:06 Samba Cepeda (Desmond)
11. 4:53 O Gato [at] (Herbert)

Recorded 1963, 1964 in RCA Victor's Studio A New York City

Bossa Antigua picks up the samba-based rim shots of drummer Connie Kay on Take Ten and tries to make a whole new record out of them. While the title track duplicates the original percolating groove of "El Prince," other tracks like "Samba Cantina" revert to a typical bossa nova rhythm of the period, which leads one to conclude that "bossa antigua" is merely whatever Desmond says it is. Of the album's two non-originals, "The Night Has a Thousand Eyes," of course, is made to order for Desmond's wistful, sophisticated temperament, and he delivers exactly what a Desmond devotee would expect and love; and "A Ship Without a Sail" has some memorable off-the-cuff solo ideas. Jim Hall is around again to lend subtle rhythm support and low-key savvy in his solos, and like many Desmond companions of this period, he makes a fine sparring partner in the contrapuntal exchanges. The Brubeck Quartet's Gene Wright again lends a sturdy hand on bass. The playing is wonderful throughout, though just missing the full-throttle inspiration of Take Ten. (Richard S.Ginell)

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