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	Paul Gonsalves - Wikipedia, the free encyclopedia
		Paul Gonsalves (1920-1974), a Brazilian-American jazz tenor saxophonist, was considered one of the best and most tasteful players on his instrument.
		Gonsalves was a featured soloist in numerous Ellingtonian settings, but the memory of "Diminuendo" usually helped assure he'd be handed the job for any piece calling for an extended tenor saxophone solo.
		Gonsalves was also much liked as a personality; his friendliness with audiences, including an occasional habit of stepping down from the stage to play his horn directly to fans (and especially to young children), earned him the nickname "The Strolling Violins" within the Ellington organisation.
	en.wikipedia.org /wiki/Paul_Gonsalves (443 words)

	Paul Gonsalves (Site not responding. Last check: 2007-11-06)
		Gonsalves joined Duke Ellington in 1950 and stayed with him almost continuously for twenty-four years.
		Gonsalves replaced Ben Webster, and Ellington was initially attracted to his style because of its Webster-like influences.
		Gonsalves' virtuoso performance on "Dimenuendo and Crescendo in Blue" at the 1956 Newport Jazz Festival was largely responsible for a revival of interest in the career and work of Duke Ellington.
	www.pitt.edu /~atteberr/jazz/artists/ellington/people/paulg.html (125 words)

	Paul Gonsalves (Site not responding. Last check: 2007-11-06)
		Paul Gonsalves was born in Brockton in 1920, grew up in New Bedford, and came to local renown as a member of the Sabby Lewis Orchestra.
		Paul was a featured soloist in the Ellington orchestra from 1950 until his death in 1974 and as such, most, if not all of Ellington's important recordings from this period highlight Gonsalves in some way.
		Paul Gonsalves was a tenor player but most reed musicians have to play some other type of horn at some stage in their careers.
	astronomy.sussex.ac.uk /~alexd/paulg.html (867 words)

	Diminuendo and Crescendo in Blue
		Paul Gonsalves on the other hand, was a mere journeyman who had played with Count Basie and Dizzy Gillespie before joining up with Ellington and his caravan.
		Gonsalves' segment begins conventionally enough and his first few choruses could have been played by any number of tenor players from this era.
		It was somewhere around Gonsalves' sixth steaming chorus that the crowd began to sense something special was occurring and it was during his seventh go-round that a sophisticated lady (a platinum blonde in a fl evening dress, as the legend goes) jumped up from her box seat and began dancing wildly to the rocking rhythm.
	www.jazzhouse.org /files/myers1.php3?read (822 words)

	June 2000 Review - Toronto AES (Site not responding. Last check: 2007-11-06)
		Paul Gonsalves of TGI North America took the stage to discuss his research on large diaphragm microphones.
		Paul went on to explain that "large diaphragm" means a diaphragm of 3/4" of an inch to 1 inch in diameter.
		Paul used this series of micro-mics to back up his statement that certain small and medium mics can be made to exhibit certain large diaphragm microphone characteristics and you should actually experiment with and listen to the small mic before discarding it to it's large diaphragm cousin.
	www.vex.net /torontoaes/99-00/june-review.html (850 words)

	Paul Gonsalves, MP3 Music Download at eMusic (Site not responding. Last check: 2007-11-06)
		The greatest moment of Paul Gonsalves' musical career occurred at the 1956 Newport Jazz Festival when, to bridge the gap between "Diminuendo in Blue" and "Crescendo in Blue," Duke Ellington urged him to take a long solo, egging him on through 27 exciting choruses that almost caused a riot.
		Gonsalves had already earned a strong reputation during his stints with Count Basie (1946-1949) and the Dizzy Gillespie Orchestra (1949-1950).
		Joining Ellington in 1950, Gonsalves' warm breathy tone and harmonically advanced solos were a constant fixture for 24 years (except for a brief time in 1953 when he was with Tommy Dorsey) and he was well-featured up until his death, just ten days before Ellington passed on.
	www.emusic.com /artist/10568/10568305.html (252 words)

	Duke Ellington: At the Alhambra
		There, tenor saxophonist Paul Gonsalves played an incredible and spontaneous 27 choruses on "Diminuendo and Crescendo in Blue," sending the crowd into an ecstatic epiphany not seen since the days of Benny Goodman and Chick Webb at the Palomar and Savoy ballrooms.
		The sax section, led by Johnny Hodges, includes Gonsalves, Harry Carney, Jimmy Hamilton, and Russell Procope, while the trumpet section of Ray Nance, Clark Terry, Cat Anderson, and Shorty Baker is superb, as are trombonists Quentin jackson, Britt Woodman, and John Sanders.
		Gonsalves doesn't provide the same spontaneous fire as he did at Newport, but he does demonstrate his talent for improvisation and proves that his showstopper was no fluke.
	www.jazzitude.com /ellington_allhambra.htm (616 words)

	Duke Ellington : Featuring Paul Gonsalves - Listen, Review and Buy at ARTISTdirect (Site not responding. Last check: 2007-11-06)
		Tenor saxophonist Paul Gonsalves will be remembered by many for his riotous 27 choruses on the Newport recording of "Diminuendo in Blue and Crescendo in Blue." As with other prime Ellington soloists like Johnny Hodges and Harry Carney, Gonsalves was given ample room to display his wares live and in the studio.
		Duke's faith in Gonsalves was certainly made clear at Newport and is proven again on this very enjoyable showcase.
		Unbeknownst to Gonsalves, though, Ellington planned the session as a vehicle for his soloist's considerable skills.
	www.artistdirect.com /nad/store/artist/album/0,,81364,00.html (232 words)

	[No title]
		The protagonists are the tenor saxophonist Paul GONSALVES and the clarinetist and alto saxophonist Russell PROCOPE.
		Paul GONSALVES (handing the rag he was shining his instrument with): Tonight, we are going to give them Beauty, man. PROCOPE: Without even knowing what Beauty is. Yeah, (imitating Ellington).
		GONSALVES: All you see on my face for the moment is my absolute annoyance when you indulge in that type of vulgar language.
	www.disobey.com /detergent/zines/annihilation_fountain/1999/taf09.txt (11494 words)

	Jazz \| All About Jazz
		You see, Paul Gonsalves played this saxophone solo with Duke Ellington's orchestra at the American Jazz Festival in Newport, Rhode Island back on July 7, 1956.
		Paul Gonsalves on the other hand, was a journeyman musician who had played with Count Basie and Dizzy Gillespie before joining up with Ellington and his caravan.
		Bare in mind that the festival was a somewhat elegant event and the commotion caused by Gonsalves' little tour de force had the Newport police security more than just a little concerned.
	www.allaboutjazz.com /articles/a0699_01.htm (848 words)

	Bruce Crowther's gone but not forgotten
		And Gonsalves was building a reputation as a consummate balladeer and also as a crowd pleaser thanks to Ellington's choice of him as the soloist to bridge the opening and closing sections of 'Diminuendo and Crescendo in Blue'.
		It had been a mixed night; Ellington was irritated by his placing on the bill, the show was a long one and the audience was already drifting homewards, and some of the band had been more than usually tardy in returning to the stand after the interval.
		Gonsalves surpassed even this on a 1967 album of duets with Eddie 'Lockjaw' Davis, where he delivers what might well be the definitive instrumental version of this same song.
	www.swing2bop.com /gone.html (7693 words)

	[No title]
		GONSALVES: Remember the other night when we were talking about the reality of an object in our mind or in the world.
		GONSALVES: (scratches his forefront with the mouthpiece of his instrument) But to obtain new configurations with what is simply laying there...
		It is reported by Paul GONSALVES himself, in a 1961 interview realized and edited by the eminent British historian of jazz Stanley DANCE.
	www.disobey.com /detergent/zines/annihilation_fountain/00latest.txt (11889 words)

	JJA Library
		Gonsalves performance is one amongst the best I know (with Wardell Gray's "Blue Lou" backed by Eroll Garner at Civic Auditorium of Pasadena, and Illinois Jacquet "One o'clock jump" backed by Basie orchestra at Newport 1957).
		Bur I am not sure that Gonsalves performance is really a spontaneous one.
		The orchestra was : Harold Baker, Cat Anderson, Nelson Williams, Ray Nance (tp), Quentin Jackson, Juan Tizol, Britt Woodman (tb),Jimmy Hamilton (cl), Russel Procope, Willie Smith (as), Paul Gonsalves (ts), Harry Carney (bs), Duke (pn), Wendell Marshall (b)and Louie Bellson (dms).
	www.jazzhouse.org /library/index.php3?read=myers1 (969 words)

	101cd.com - Buy cheap UK Duke Ellington & His Orchestra - Duke Ellington And His Orchestra Featuring Paul Gonsalves (CD ...
		Eschewing the revolving-spotlight ethic usually favored by the Duke, this disc features tenor-sax icon Paul Gonsalves fronting the Orchestra in a run-through of some of their best-known tunes.
		As usual, Gonsalves is in fine form, and his chops and imaginative improvisations are shown off to splendid effect.
		Gonsalves blows both hot and cool on such blues numbers as "Happy-Go-Lucky Local" and the jump-up "Ready, Go" (from Ellington's RED CARPET SUITE.) With Ellington leading at the ivories and the Orchestra providing solid, dynamically fluctuating backing, Gonsalves turns in an album full of worthwhile performances.
	www.101cd.com /detail.aspx?productid=3365 (390 words)

	Jazz/Jerry Jazz Musician/Gary Giddins conversation on underrated jazz musicians, Part One
		The thing with Rouse, Paul Gonsalves and George Coleman -- three tenor players I have always admired and who were very much criticized in the sixties -- is that they all had the same career problem, which is that they came into a famous band replacing a legendary figure.
		Gonsalves was in the Ellington band and basically took over a seat that had been established by Ben Webster, the first tenor that Ellington ever hired full time.
		He is a short little guy who plays in the Paul Gonsalves manner, and I have always liked his work.
	www.jerryjazzmusician.com /linernotes/giddins_underrated1.html (6979 words)

	Amazon.com: Gettin' Together!: Music: Paul Gonsalves (Site not responding. Last check: 2007-11-06)
		Paul's sound is extremely nice, you can almost hear his breath, it's extremely confidential.
		Paul Gonsalves was best known as a member of Duke Ellington's band.
		Just like the Ellington band, Paul's band here is stellar as well with Nat Adderley joining on cornet, and the classic rhythm trio of Wynton Kelly, Sam Jones and Jimmy Cobb providing the backbone.
	www.amazon.com /exec/obidos/tg/detail/-/B000000YBD?v=glance (613 words)

	Jazz/Jerry Jazz Musician/Great Encounters: Duke Ellington and George Wein at Newport, 1956
		Then Paul Gonsalves asks, "That's the one where I blow?" Duke answers, "Yes, and don't stop until I tell you." If this scene is to be believed, we might also consider Gonsalves's recollection, as reported by Phil Schaap, that he first played the "Diminuendo" interlude to an empty house at Birdland in 1951.
		Paul claimed that Duke promised to feature him on the tune again sometime, in front of a much larger crowd.
		Paul Gonsalves had been with Duke's band since autumn of 1950.
	www.jerryjazzmusician.com /mainHTML.cfm?page=greatencounters11.html (3028 words)

	Paul Gonsalves MP3 Downloads - Paul Gonsalves Music Downloads - Paul Gonsalves Music Videos (Site not responding. Last check: 2007-11-06)
		Nonetheless, Gonsalves was his own man, and this excellent CD points to the fact that the...
		Tell It the Way It Is unites Gonsalves with the great Swedish trumpeter Rolf Ericson and pianist Walter Bishop, Jr.
		Joined by guitarist Kenny Burrell, pianist Hank Jones, bassist George Duvivier, and drummer Roy Haynes, Gonsalves salutes Cleopatra with music that is generally moody and evocative yet swinging.
	www.mp3.com /albums/106935/summary.html (397 words)

	[No title] (Site not responding. Last check: 2007-11-06)
		The latter are little more than blues based head arrangements serving as the platform for the solo artistry each member of the group.
		Gonsalves does his thing with “Diminuendo and Crescendo in Blue”.
		While not approaching the 27 choruses of the1956 Newport Jazz Festival performance, he continues to generate sparks showing no signs of ennui which might have set in because of the many times he had to play the tune because of Newport.
	www.allaboutjazz.com /php/review_print.php?id=6709 (486 words)

	Silk City Records
		Son opted to "co-write" much of this material with a musician whose pedigree insures that the output will be a new and exciting direction for fans of Son's music.
		Gonsalves' famed 27 chorus sax solo at the Newport Jazz Festival in the late 1950's is credited with returning Ellington to prominence as a jazz icon.
		While Paul had done a number of jam and duo improvisational recordings with other jazz sax players before his untimely death, these are believed to be his only known sessions featured as frontman and band leader.
	www.silkcitycd.com /upcoming.asp (415 words)

	It Don't Mean a Thing (If It Ain't Got That Swing) by Paul Gonsalves: Reviews (Site not responding. Last check: 2007-11-06)
		Paul Gonsalves : Albums : Paul Gonsalves Meets Earl Hines : It Don't Mean a Thing (If It Ain't Got That Swing) : Reviews
		Duke Ellington's longtime tenor, Paul Gonsalves, was a perfect match for the inventive pianist, Earl Hines, who (along with bassist Al Hall and drummer Jo Jones) is in top form on five standards, three by Ellington.
		Although not essential, this CD should please the fans of Hines and Gonsalves, two...
	www.mp3.com /tracks/484989/reviews.html (210 words)

	American music collections
		Photograph - Mercer Ellington, Paul Gonsalves, Russell Procope, Harry Carney, Lawrence Brown, Paul Gonsalves, Cat Anderson, n.d.
		Photograph - Paul Gonsalves, Harold Ashby, Chuck Connors, Harold Ashby, Paul Gonsalves, Cootie Williams, n.d.
		Photograph - Rufus Jones, Paul Gonsalves, Cootie Williams, Harold Ashby, Chuck Connors, n.d.
	americanhistory.si.edu /archives/d5502e.htm (600 words)

	Paul Gonsalves - Tell It the Way It Is! \| Hot 103 Live
		Paul Gonsalves - Tell It the Way It Is!
		This was true in the 1930s and 1940s, and it was true on some of Paul Gonsalves' recordings of the 1960s.
		Nonetheless, Gonsalves was his own man, and this excellent CD points to the fact that the breathy tenor saxophonist wasn't afraid to enter a variety of musical situations.
	www.hot103live.com /album/139522 (156 words)

	PBS - JAZZ A Film By Ken Burns: Jazz Exchange - Jazz Festivals
		But a woman started to dance when, when Ellington had Paul Gonsalves playing...
		She was quite attractive, it really took hold and Ellington saw this thing happening, and he just kept Paul Gonsalves playing."
		Gonsalves dug in, one furious chorus following another.
	www.pbs.org /jazz/exchange/exchange_festivals.htm (1243 words)

	Ellington Sessions
		Paul Gonsalves, ts; Duke Ellington, p; Victor Gaskin, Paul Kondziela, b; Rufus Jones, d.
		Norris Turney, as; Paul Gonsalves, ts; Wild Bill Davis, org; Duke Ellington, p; Joe Benjamin, b; Rufus Jones, d.
		Paul Gonsalves, ts; Duke Ellington, p; Joe Benjamin, b; Rufus Jones, d.
	www.depanorama.net /1970s.htm (2154 words)

	Duke Ellington : Features : One Final Note
		Of course, they did release some worthwhile titles (like the legendary Newport set featuring Paul Gonsalves’ famous multi-chorus solo on “Diminuendo and Crescendo In Blue”), but nothing that could be deemed essential.
		The sad thing is that the remainder of the material continues to sit in the vaults collecting dust—most criminally, the material from the Okeh era with its dated remastering (which includes some of Duke’s most classic material with Bubber Miley) and the late 30’s recordings.
		Paul Gonsalves has his run with “Copout Extension” that treads rather closely, seemingly ripping himself off, in the mode of “Diminuendo and Crescendo In Blue”.
	www.onefinalnote.com /features/2004/ellington (1484 words)

	eBay.co.uk - paul gonsalves, Records, CDs, Music items at low prices (Site not responding. Last check: 2007-11-06)
		PAUL GONSALVES /EARL HINES /IT DON'T MEAN A THING.../LP
		WITH PAUL GONSALVES by DUKE ELLINGTON and HIS ORCHESTRA
		Paul Gonsalves - Tell it the Way It Is
	search.ebay.co.uk /paul-gonsalves_W0QQsojsZ1 (282 words)

	Ellington Sessions
		Duke Ellington & His Orchestra: Cat Anderson, Herb Jones, Paul Serrano, Cootie Williams, t; Lawrence Brown, Buster Cooper, tb; Chuck Connors, btb; Jimmy Hamilton, cl, ts; Johnny Hodges, as; Russell Procope, as, cl; Paul Gonsalves, ts; Harry Carney, bs; Duke Ellington, p; John Lamb, b; Sam Woodyard, d.
		Paul Gonsalves, Ben Webster, ts; Duke Ellington, p; John Lamb,.
		Paul Gonsalves, ts; Duke Ellington, p; John Lamb, b; Rufus Jones, d.
	www.depanorama.net /1960s2.htm (4222 words)

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