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BACKBEAT Records dary lead guitar ligures that scrve as foils For his auslere solo lines. His rangę of tonal effects is deceptively wide, given his reliance on his own hands instead of a bank of effects pedals.

Yet. however impressive. technique is clearly secondary here. Instead, Ver-laine is restating rock’s topical concerns and its lexicon of guitar phrases in pri-mordial terms, stripping words and musie of momenlary contemporaneity. In his hands, romantic conventions are reshaped into a darker, morę aulhentic poctic style, summari/.ed by the refrain on Al\\avs\ “Mysteries come and 20. but

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love rcmains the best kept secrel in tow n . . . think ii over.”

Excerpting his verse does not do to-tal justice, for Verlaine’s fragmcnlary style and impressionisiic imagery draw much of their cohercnce front his musie. The ontinous guitar figures that stab at his urgent vocal on the chorus of Pene-tration or the lantbent lines that curve against the pastorał intages of Without a Word are as eloquent as any textural ele-ntents. That’s not entirely intentional, I suspect: The record’s only flaw is the in-ternnttent intelligibility of the lyrics. This is hardly unusual in rock. bul in the context of his haunting and original musie, ifs frustrating to miss any of Ver-!aine’s equally sharp verbal uifts.

' -SAM SUTHERLAND

Jazz

Paul Desniond with the Modern Jazz Quartet:

The Only Recorded Performance

John Lewis & Norman Schwartz, producers. Finesse FW 37487

This disc, here released for the first linie, documents the only occasion that alto saxophonist Paul Desniond and com-poser/pianist John Lewis recorded to-gether. Taped i.n New York on Christ* mas Day, 1971. at the Modern Jazz Quartet’s annual Toun Hall concert, it brings together elements of the tu o most successful jazz quartets of the ’50s and ’60s. the MJQ (via Lewis) and the Dave Brubeck quartet (via Desniond).

To hear Desniond in this context is to regret that so much of his career was devoted to the Brubeck group. After his solo on Here’s That Ruiny Day. for in-stance, Lewis enters with a solo that is different from anything Brubeck would have played and far morę in keeping with the saxist’s interpretalion. In addi-tion. Desmond’s very presence seenis to shake up the MJQ. leading it to swing morę openly than usual.

The materiał here progresses from Greensleeves. a waliz that serves as a Des-(Continued on page 110)

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