Customer Rating: 
Summary: Eternally Captivating
Comment: 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. Hall reportedly advised "don't use piano. 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. Desmond's work here is riveting - among the best ever documented. 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. 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. Desert island material for little ol' moi.
Customer Rating: 
Summary: Neither a preacher nor teacher but a peerless original
Comment: Of all the dates under Paul's leadership, this is the last and the best. 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. At the same time, this is a date more likely to impress Desmond fans than younger listeners unfamiliar with his musical-historical importance. 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. 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. 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. 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.
Customer Rating:
Summary: Paul Desmond at his relaxed best, but...
Comment: This is a great album that has unfortunately been REMASTERED with the BASS CRANKED UP WAY TOO HIGH, at least for my taste. So the bass constantly beats you over the head when it should be in balance with the rest of this wonderful group. 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. Nevertheless, if you're a Desmond fan "Live" has marvelous performances and is a great addition to round out your library. 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. Five stars for the performances! There was no one like Paul - a treasure.
Customer Rating:
Summary: Great album
Comment: I first got to know Paul Desmond through Dave Brubeck and the Take Five album. This album is more Paul Desmond at his best.
Customer Rating:
Summary: Sweet melancholy...
Comment: This LIVE recording of the late alto saxophonist Paul Desmond's last quartet is an absolute joy to listen to. Desmond made his mark on the jazz world first with his many years playing with pianist Drave Brubeck. This album shows Paul as the seasoned veteran he was by 1975, the year this recording was created. This is precisely the kind of music you want to hear when going out to a small jazz club for a good time.
Paul Desmond could often remind you of the nuanced approach Johnny Hodges would take to the sax. In my opinion The Dave Brubeck Quartet should have been called The Paul Desmond Quartet, but that was never Paul's particular style or objective. He was content lurking in the shadows as the unknown of that group, penning "Brubeck's" greatest hit, "Take Five". Desmond was uninterested in stardom and recognition, he only wanted to play great music with great musicians. Speaking of playing with great musicians, this recording features three others: Ed Bickert on guitar, Don Thompson on bass, and Jerry Fuller on drums.
This album is so laid back you almost can't believe you never fall asleep through it. Of course, how could you? The musing style of Bickert on guitar with the wonderful rhythms of Thompson and Fuller, accompanied by some mighty fine melancholy blowing by Desmond keeps us attentive at all times. This is music for a day of rain, music for surfing the web, music for writing reviews on Amazon to, music you want to drink scotch to, music you often smoke a pack of cigarettes to.
This is music you must own.
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