In 1998, Columbia reissued a bunch of CDs by the Dave Brubeck Quartet, often adding one or two previously unissued selections to the sets. Buried Treasures: Recorded Live in Mexico City, however, is something different, for none of the music had been out before. Recorded live in 1967 during a tour of Mexico that also resulted in the album Bravo! Brubeck!, the set features the classic Brubeck Quartet (with altoist Paul Desmond, bassist Eugene Wright and drummer Joe Morello) performing seven selections they had previously recorded, which was probably why this particular music stayed in the vaults for decades. The quality is certainly quite high, with Brubeck and Desmond really digging into such songs as "Koto Song" (coming up with some inspired ideas over its vamp), "You Go to My Head," a lengthy "St. Louis Blues," and a fairly concise version of "Take Five," one of the few versions by Brubeck of the hit song that does not have a drum solo. Suffice to say, Dave Brubeck fans only need to be notified of two things: they do not already own this music, and the Quartet is heard throughout in prime form. Recommended.

The title of this set by alto saxophonist Paul Desmond refers to his having placed first once again in the alto chair in the Downbeat poll. Released in 1959, First Place Again is the result of an unexpected gathering of the rhythm section of the Modern Jazz Quartet: Percy Heath and Connie Kay, and Jimmy Giuffre 3 guitarist Jim Hall. The four musicians were all unexpectedly at home in New York and took full advantage of cheap, after-hours recording studio time to play out this set of standards and a pair of newer tunes, John Lewis' great blues, "Two Degrees East, Three Degrees West," and "East of the Sun (and West Of The Moon)," from a Princeton University theater work…

Three years after Gerry Mulligan initially sat in with the Dave Brubeck Quartet, the baritone saxophonist arrived at a point where he could perform alongside Brubeck's alto saxophonist, Paul Desmond, for this much anticipated session. When legal issues, wranglings with producer Norman Granz, and the question of which record label would subsidize and release this album were resolved, the two saxophonists went ahead to produce a delightful program of standards and originals where their more playful sides could fully blossom…

In 1992, Telarc unveiled a series of performances from the vault on a short-lived label punningly entitled "Telarchive," beginning with this long-delayed encore to the original releases from Paul Desmond's "Canadian" quartet. Recorded live in Toronto's Bourbon Street Jazz Club several months before the live dates released on Horizon and Artists House, it finds Desmond growing comfortable with his new Toronto friends but not quite settled into their laid-back ways quite yet. There are passages in this session where Desmond sounds a bit uncharacteristically scattered and unfocused, where guitarist Ed Bickert becomes the more fluid and stable solo partner, and bassist (and engineer) Don Thompson takes a lengthy solo on every track…

Even though Desmond was kidding when he described himself as the world's slowest alto player, this record bears out the kernel of truth within the jest. Here, Desmond set out to make a record of love songs and torch ballads, so the tempos are very slow to medium, the mood is of wistful relaxation, and the spaces between the notes grow longer. At first glance, Desmond may seem only peripherally involved with the music-making, keeping emotion at a cool, intellectual arms' length, yet his exceptionally pure tone and ruminative moods wear very well over the long haul. Again, Jim Hall is his commiserator and partner, and the guitarist gets practically as much space to unwind as the headliner; the solo on "Angel Eyes" is an encyclopedia of magnificent chording and single-string eloquence…

Paul Desmond's first genuine all-Brazilian album under the Creed Taylor signature was a beauty, a collection of songs by the then-moderately known Edu Lobo and the emerging giant Milton Nascimento, then only in his early twenties. All Desmond has to do is sit back and ride the Brazilian grooves while lyrically ruminating on whatever pops into his head. It sounds so effortless - until you try it yourself. The swirling, often gorgeous orchestral arrangements are by Don Sebesky (one CD edition mistakenly gives Claus Ogerman credit on the cover), Airto Moreira leads the samba-flavored percussion forces, and Lobo and his wife Wanda de Sah appear on three of Lobo's four songs…

Recorded 1952-1954. This CD reissues two earlier Fantasy LPs titled Jazz at the Black Hawk and Jazz at Storyville. Pianist Dave Brubeck and altoist Paul Desmond are the two main constants while bassists Ron Crotty and Wyatt Ruther and drummers Lloyd Davis, Herb Barman and Joe Dodge are heard on some tracks. There are many high points to this interesting set including Brubeck-Desmond duets on "Over the Rainbow" and "You Go to My Head," an unaccompanied piano solo on "My Heart Stood Still" and quartet versions of "Jeepers Creepers," "Trolley Song" and "Crazy Chris."

Three years after Gerry Mulligan initially sat in with the Dave Brubeck Quartet, the baritone saxophonist arrived at a point where he could perform alongside Brubeck's alto saxophonist, Paul Desmond, for this much anticipated session. When legal issues, wranglings with producer Norman Granz, and the question of which record label would subsidize and release this album were resolved, the two saxophonists went ahead to produce a delightful program of standards and originals where their more playful sides could fully blossom. The wonderful interaction between Mulligan's burly but agile horn and the ultimate smooth - but in this case animated and energized - sax of Desmond is more than just magical, and makes for a fluid, jaunty, delicious combination sure to please even the most jaded or stone-eared music listener…

Simon and Garfunkel's Bridge Over Troubled Water was the hottest album in the land in 1970, and Paul Simon's tunes from that and their earlier albums unexpectedly find a congenial advocate in Paul Desmond. Against the odds as determined by bopsters, Desmond finds something beautiful, wistful, and/or sly to say in each of these ten tunes, backed by Herbie Hancock's Rhodes electric piano and a set of ravishing, occasionally overstated (as in "America") orchestrations by Don Sebesky. "The 59th Street Bridge Song" is given a jaunty, carefree rendition, adapting quite well to a jazz treatment (after all, Desmond's old teammate in the Brubeck quartet Joe Morello played drums on S&G's original record) and Desmond even does some cascading overdubs on his solo part…