Desmond was bor… Read Full Bio ↴Paul Desmond (1924-1977) was a U.S jazz saxophonist.
Desmond was born Paul Emil Breitenfeld in San Francisco, California on 25th November 1924. He came to prominence with the Dave Brubeck Quartet, which lasted from 1951 until 1967. Desmond wrote their biggest hit, "Take Five".
Desmond's alto saxophone tone and technique owed nothing to the great alto player of the time, Charlie Parker; instead his was a clear, light, floating sound and highly melodic playing style. Much of the success of the classic Brubeck quartet was due to the superposition of his fragile, airy sound over Brubeck's sometimes relatively heavy, polytonal piano work.
Desmond died on 30th May 1977.
Paul Desmond is widely recognized for his genius as a melodic improviser and as the benchmark of cool jazz sax players. His warm, elegant tone was one that he admittedly tried to make sound like a dry martini. He and Art Pepper were virtually the only alto players of their generation not directly influenced by Charlie Parker. Desmond was influenced by Lester Young, but took it further, into melodic and harmonic worlds never before traveled by reedmen -- especially in the upper registers. Desmond is best known for his years with the Dave Brubeck Quartet (1959-1967) and his infamous composition "Take Five." He met Brubeck in the late '40s and played with his Octet. The Quartet formed toward the end of 1950 and took final shape with Eugene Wright and Joe Morello a few years later. Jazz at Oberlin and Take Five were considered essential purchases by college students of the era, but Jazz Impressions of Japan was its most innovative recording. Desmond played his loping, slow, ordered, and intricate solos in direct contrast to the pianist's obsession with large chords, creating a myriad of textures for melodic and rhythmic counterpoint unlike any heard in jazz. His witty quotations from musicals, classical pieces, and folk songs were also a watermark of his artistry. When the Quartet split in 1967, Desmond began an intermittent yet satisfying recording career. It included dates with Gerry Mulligan for Verve, various sessions with Jim Hall, and a concert with the the Modern Jazz Quartet. He played his last gigs with the Brubeck Quartet at reunions before dying of lung cancer. Desmond's recordings for RCA have gotten box-set treatment and Mosaic issued one of the complete sessions with Hall. There are also reissues from A&M and CTI, though recordings on Artist House and Finesse remain regrettably out of print. ~ Thom Jurek, Rovi
Polka Dots and Moonbeams
Paul Desmond Lyrics
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I felt a bump and heard an "Oh, beg your pardon"
Suddenly I saw polka dots and moonbeams
All around a pug-nosed dream
The music started and was I the perplexed one
I held my breath and said "May I have the next one?"
In my frightened arms, polka dots and moonbeams
There were questions in the eyes of other dancers
As we floated over the floor
There were questions but my heart knew all the answers
And perhaps a few things more
Now in a cottage built of lilacs and laughter
I know the meaning of the words "Ever after"
And I'll always see polka dots and moonbeams
When I kiss the pug-nosed dream
The lyrics to Paul Desmond's song Polka Dots and Moonbeams describe a magical moment at a country dance where the singer bumps into a "pug-nosed dream" and suddenly sees "polka dots and moonbeams all around" them. Despite feeling perplexed, the singer asks for the next dance and holds the dream in their arms. As they dance, there are questions from other dancers, but the singer's heart knows all the answers. The song concludes with the singer in a cottage with their dream, knowing the meaning of "ever after" and always seeing polka dots and moonbeams when they kiss their love.
The lyrics of Polka Dots and Moonbeams paint a romantic and dreamy picture of falling in love. The use of polka dots and moonbeams as imagery serves as a metaphor for the magical feeling of being in love. The pug-nosed dream represents the object of the singer's affections, and their dance together symbolizes the beginning of a new romance. The final verse suggests a happy ending with the couple living in a cottage of "lilacs and laughter," emphasizing the sweetness and joy of their love.
Line by Line Meaning
A country dance was being held in a garden
A dance party was ongoing in a flowery, joyful atmosphere
I felt a bump and heard an "Oh, beg your pardon"
I accidentally collided with someone, who said sorry in response
Suddenly I saw polka dots and moonbeams
All of a sudden I saw delightful patterns and a starry sky
All around a pug-nosed dream
These patterns and sky surrounded a charming person with a cute nose
The music started and was I the perplexed one
When the music began, I became confused and nervous
I held my breath and said "May I have the next one?"
I hesitantly asked for a dance and held my breath waiting for an answer
In my frightened arms, polka dots and moonbeams
As we danced, I held the person and witnessed those patterns and skies again
Sparkled on a pug-nosed dream
Those patterns and skies sparkled on that endearing person's cute nose
There were questions in the eyes of other dancers
Observing us, the other dancers had queries and curious looks
As we floated over the floor
As we danced gracefully across the floor
There were questions but my heart knew all the answers
My heart had all the answers to the questions that arose
And perhaps a few things more
And maybe there were some additional things my heart felt
Now in a cottage built of lilacs and laughter
Now, living in a joyful place surrounded by flowers and laughter
I know the meaning of the words "Ever after"
I understand the true meaning of living happily ever after
And I'll always see polka dots and moonbeams
I will forever see those patterns and skies
When I kiss the pug-nosed dream
When I kiss that adorable individual
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Broma 16, Warner Chappell Music, Inc.
Written by: JAMES VAN HEUSEN, JIMMY VAN HEUSEN, JOHNNY BURKE
Lyrics Licensed & Provided by LyricFind