Stéphane Mercier "Calling Paul Desmond"
A few years ago, producer Jean Kluger pitched me the idea of an album
featuring compositions by Paul Desmond, the most widely listened-to saxophonist in cool jazz
in cool jazz, thanks to his Take Five, immortalized by the Dave Brubeck Quartet
(at the time of writing: 187 million listens on Spotify, not bad for
50s jazz!).
The idea stuck with me, since Desmond was my first love at first sight on the alto saxophone.
alto saxophone. As a teenager, I listened to his vinyl records on my grandfather's old tube amp.
my grandfather's old tube amp. But how did I go about it? I'd moved back to Brussels,
capital of Europe, and wondered who would be interested in playing this music, and
and what label would take the risk of releasing covers of an American violist, less
than his leader Brubeck?
Some research confirmed that Desmond had composed quite a few works
diverse and interesting works. He recorded a great deal,
among others, with Gerry Mulligan, Chet Baker and Jim Hall.
I saw Jean Kluger again at a vernissage, and explained to him that I would never find
a Belgian production daring to produce such an album. He told me straight out that he wanted to produce it himself.
that he wanted to produce it himself. Immediate joy followed by panic seized me.
the responsibility of taking on Desmond's role in a quartet was enormous.
was enormous.
We met again a few days later to talk about it, and that day we decided on all the elements that would make up the album.
all the elements that would make up the album: I would take care of the arrangements
arrangements (for one quartet with piano and the other with guitar, representing
Dave Brubeck and Jim Hall), we'd add two compositions of our own, and, most importantly
above all, we'd record in England with local musicians, thanks to the help
the help of fabulous drummer and close friend Darren Beckett, who would advise me on which
musicians and the studio to book.
The rest is history, as they say. Those two days in the studio were magical, and
some of the very first takes are the ones that appear on the album.
Here, then, is a humble tribute to a man who was discreet and certainly humble
himself, but who changed the sound of the alto saxophone forever.
Stéphane Mercier