Miscellaneous - Stan Getz Community2024-03-28T14:03:29Zhttp://stangetz.ning.com/forum/categories/2085102:Category:6001/listForCategory?feed=yes&xn_auth=noStan JATP 1960tag:stangetz.ning.com,2014-01-06:2085102:Topic:591732014-01-06T07:05:56.879ZMichel Brilliéhttp://stangetz.ning.com/profile/MichelBrillie
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">Hi</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">I have tapes of Stan Getz in Paris,</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">March 21 1960, the same JATP date with Miles davis & Oscar Peterson.</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">November 25 1960 with Dizzy Gillespie…</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">Hi</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">I have tapes of Stan Getz in Paris,</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">March 21 1960, the same JATP date with Miles davis & Oscar Peterson.</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">November 25 1960 with Dizzy Gillespie & JJ Johnson.</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">On each date, there is a number that I can't identify.</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">And on the first date, it sounds like Oscar is playing with Stan, does that make sense?</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">If anyone of you wants to help, I'll be happy to email you the two full tracks in mp3 so you can tell me what you think. I enclose an excerpt for each tune.</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">Now that's a challenge...<br/></span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">Merci beaucoup</span></p>
<p><span class="font-size-3" style="font-family: arial,helvetica,sans-serif;">MB</span></p> ? The mystery involve "" The sound "" ?tag:stangetz.ning.com,2011-06-27:2085102:Topic:462062011-06-27T10:25:28.913ZBabis Antonatoshttp://stangetz.ning.com/profile/BabisAntonatos
<p>I am a great fan of Stan Getz music for I have heard his music from earlie to late times. The perception of music he had is clear, in a mysterious way (to me) he always achieves to find the right musical words in every tune he played, giving the color to music that Stan knew. I don't want to underestymate nobody but as far as i have heard music nobody did it like he did. Of course this is one side of the coin that needs a lot of discussion with a more musical approach.</p>
<p> The other side…</p>
<p>I am a great fan of Stan Getz music for I have heard his music from earlie to late times. The perception of music he had is clear, in a mysterious way (to me) he always achieves to find the right musical words in every tune he played, giving the color to music that Stan knew. I don't want to underestymate nobody but as far as i have heard music nobody did it like he did. Of course this is one side of the coin that needs a lot of discussion with a more musical approach.</p>
<p> The other side is the marvelous '' Out of this World '' tone coming out of his horn. That unique sound is defenetly a resolt of a lot of practising and finaly overwalming yourself achievment fitted with suitable equipment.</p>
<p>Focusing on his mouthpiece set up can anybody give some information rather than those that internet blogs gives, about his setup? </p> top 100 songs and from what album to put in my playertag:stangetz.ning.com,2009-11-21:2085102:Topic:228172009-11-21T22:58:46.572ZRichard Ransomhttp://stangetz.ning.com/profile/RichardRansom
<p style="text-align: left;"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866098687?profile=original" alt=""/></p>
<br/>
Well I thought I'll reset all the songs on my player on my page. And who better to ask but <b>Stan Getz Fans</b> on what should be<b>on it</b> and <b>in what order</b>for the player.<br />
So let's here from <b>everyone</b> and help me build the best selections for the best player!
<p style="text-align: left;"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866098687?profile=original" alt=""/></p>
<br/>
Well I thought I'll reset all the songs on my player on my page. And who better to ask but <b>Stan Getz Fans</b> on what should be<b>on it</b> and <b>in what order</b>for the player.<br />
So let's here from <b>everyone</b> and help me build the best selections for the best player! Part 2 Stan's reviewstag:stangetz.ning.com,2009-09-20:2085102:Topic:212702009-09-20T18:39:26.348ZRichard Ransomhttp://stangetz.ning.com/profile/RichardRansom
AT THE OPERA HOUSE (1957) with J.J JOHNSON<br />
<br />
Creditts:<br />
J.J. Johnson (tb -1/4) Stan Getz (ts) Oscar Peterson (p)<br />
<br />
Herb Ellis (g) Ray Brown (b) Louis Bellson (d)<br />
<br />
Tracklist:<br />
<br />
01 Billie's Bounce<br />
02 My Funny Valentine<br />
03 Crazy Rhythm<br />
04 Blues In The Closet<br />
05 Billie's Bounce<br />
06 My Funny Valentine<br />
07 Crazy Rhythm<br />
08 Yesterdays<br />
09 It Never Entered My Mind<br />
10 Blues In The Closet<br />
<br />
<br />
"I had the pleasure of catching Norman Granz' musical<br />
<br />
circus, Jazz at the Philharmonic, and the segment<br />
<br />
featuring just…
AT THE OPERA HOUSE (1957) with J.J JOHNSON<br />
<br />
Creditts:<br />
J.J. Johnson (tb -1/4) Stan Getz (ts) Oscar Peterson (p)<br />
<br />
Herb Ellis (g) Ray Brown (b) Louis Bellson (d)<br />
<br />
Tracklist:<br />
<br />
01 Billie's Bounce<br />
02 My Funny Valentine<br />
03 Crazy Rhythm<br />
04 Blues In The Closet<br />
05 Billie's Bounce<br />
06 My Funny Valentine<br />
07 Crazy Rhythm<br />
08 Yesterdays<br />
09 It Never Entered My Mind<br />
10 Blues In The Closet<br />
<br />
<br />
"I had the pleasure of catching Norman Granz' musical<br />
<br />
circus, Jazz at the Philharmonic, and the segment<br />
<br />
featuring just Stan and J. J. on the front-line was the<br />
<br />
most cohesive set of the night. This CD collects two of<br />
<br />
the concerts from 1957--the first from Chicago's Opera<br />
<br />
House, the second from Los Angeles' Shrine Auditorium.<br />
<br />
As the preceding reviewer notes (apparently as a<br />
<br />
negative), there is some repetition in the repertory.<br />
<br />
Who's complaining? The CD contains 73 minutes of<br />
<br />
playing time, two of the repeats are blues, the<br />
<br />
instrumentalists are equally inspired and fresh on both<br />
<br />
occasions, and the Chicago set is recorded in stereo<br />
<br />
whereas the L. A. set is in mono. (Guess which sounds<br />
<br />
best--and by a wide margin! So much for old notions of<br />
<br />
progress.)<br />
There are so many great trombonists, and with the<br />
<br />
exception of the pro-active Steve Turre and Robin<br />
<br />
Eubanks, none are being recorded or heard from much<br />
<br />
these days. Perhaps the reason is J. J. He's still the<br />
<br />
hippest trombonist who ever lived, with more than enough<br />
<br />
technique, matched with incisive articulations and<br />
<br />
bracing power, to preach a moving sermon every time let<br />
<br />
alone eclipse if not blow away the equally gifted Getz.<br />
<br />
(To be fair, Getz' solo on the Rodgers and Hart ballad<br />
<br />
"It Never Entered My Mind" is the best recorded version<br />
<br />
I've ever heard by an instrumentalist.)<br />
This is the real thing. Jazz in the moment. Most of the<br />
<br />
tunes recorded for the first time by both musicians. In<br />
<br />
the liner notes Phil Schaap makes it sound as though the<br />
<br />
combination of Johnson and Getz was a unique occasion,<br />
<br />
but I have at least two JATP LPs featuring the same pair<br />
<br />
on tunes that aren't part of either of the two concerts<br />
<br />
on this disk.<br />
The house rhythm section on both occasions is Oscar<br />
<br />
Peterson, Ray Brown, and Connie Kay, with Brown's bass<br />
<br />
more audible than was often the case on recordings of<br />
<br />
this period. As for the two peerless principals, besides<br />
<br />
the solos, dig the quick exchanges and collaborative<br />
<br />
polyphony. This is close to being an "essential" recording,<br />
<br />
overdue for a reissue (I wouldn't hold my breath,<br />
<br />
though.)"<br />
<br />
"This record contains seven songs with three alternate<br />
<br />
takes. They are from live recordings in 1957. The sound<br />
<br />
quality is very good, although Oscar Peterson fans will<br />
<br />
not be happy because the piano does not come through<br />
<br />
very clearly. More important, the mixture of tennor sax<br />
<br />
and trombone is outrageous. The Blues numbers have<br />
<br />
great solos that resolve beautifully at the end. The<br />
<br />
up-tempo version of my funny valentine is great. This<br />
<br />
record is a classic as far as I'm concerned."<br />
<br />
"This is a classic album in all means of the phrase. It's<br />
<br />
great from start to finish, all the songs swing with such<br />
<br />
ease and ferocity that it makes the whole album<br />
<br />
wonderful to listen to. If you want to know how to play<br />
<br />
the trombone, study "Yesterdays" it's a case study of<br />
<br />
exactly how the trombone can sound. Both of these<br />
<br />
giants were known for their impeccable tone, so with<br />
<br />
that said this album is a must for an Getz or Johnson<br />
<br />
fan...or if you remotely like jazz."<br />
<br />
<br />
HERB ELLIS - Nothing But the Blues (1957)<br />
<br />
Credits:<br />
Herb Ellis Quintet Roy Eldridge (tp) Stan Getz (ts) Herb<br />
<br />
Ellis (g) Ray Brown (b) Stan Levey (d)<br />
<br />
Tracklist:<br />
<br />
01 Pap's Blues<br />
02 Big Red's Boogie Woogie<br />
03 Tin Roof Blues<br />
04 Soft Winds<br />
05 Royal Garden Blues<br />
06 Patti Cake<br />
07 Blues For Janet<br />
08 Blues For Junior<br />
09 Les Tricheurs<br />
10 Clo's Blues<br />
11 Phil's Tune<br />
12 Mic's Jump<br />
<br />
<br />
"Herb Ellis is yet another unsung jazz guitarist. His sides<br />
<br />
with Oscar Peterson's legendary group added nuance<br />
<br />
and a subtle shade of soul to already perfect<br />
<br />
performances. Unfortunately, his often-times subdued<br />
<br />
playing meant you almost never really heard him play.<br />
<br />
This exceptional 1958 date, his "first" for a major label,<br />
<br />
is filled with brilliant playing. And though he doesn't aim<br />
<br />
for pyrotechnics, the album contains soft-hued pieces<br />
<br />
brimming with quiet soul and just a hint of his Texas<br />
<br />
swing roots. The remastering on this reissue is first-rate<br />
<br />
and brings the recording's nuances right to the fore.<br />
<br />
And for those of you who (like me) fell in love with his<br />
<br />
style, there's loads more out there... Ellis deserves a<br />
<br />
place of honour along with Grant Green, George Benson,<br />
<br />
Wes Montgomery, Charlie Christian, Barney Kessel and<br />
<br />
Joe Pass as a genuine genius of jazz guitar. Very easy on<br />
<br />
the ears, very relaxed riffing, very eye-opening<br />
<br />
performances. A perfect introduction."<br />
<br />
""For all his yeoman's duty as Oscar Peterson's guitarist<br />
<br />
in the Fifties, and the countless sessions he has<br />
<br />
countributed to since, Herb Ellis feels that this<br />
<br />
recording is his greatest accomplishment. Flanked by<br />
<br />
superior improvisers - a sure sign of confidence - such as<br />
<br />
Roy Eldridge and Stan Getz, Ellis lays down eight varied<br />
<br />
yet perfect blues tunes (including five originals by him<br />
<br />
and bassist Ray Brown). And this CD includes four bonus<br />
<br />
tracks played by a Jazz at the Philharmonic All Stars<br />
<br />
lineup - including Eldridge, Getz, Dizzy Gillespie, and<br />
<br />
Coleman Hawkins."-quoted from back of "Nothing But<br />
<br />
The Blues" CD "<br />
<br />
"Although Roy Eldridge and Stan Getz are among my<br />
<br />
favorite musicians (and Ray Brown is one of the best<br />
<br />
modernist and mainstream bass players), the small<br />
<br />
problem I have with this CD is that the other musicians<br />
<br />
seem to have adapted to Herb Ellis' style - pleasant to<br />
<br />
the ears yes, but somewhat lacking in the drive<br />
<br />
department. Don't get me wrong - I think these<br />
<br />
performances are all at least good and some are even<br />
<br />
excellent (particularly the bonus track with Dizzy<br />
<br />
Gillespie), but Ellis for me simply does not come across as<br />
<br />
a hard enough swinger to carry the weight of the<br />
<br />
pianoless rhtyhm section. Subtle arragements and<br />
<br />
ballads also fill me with joy but this is not the answer to<br />
<br />
my objection. This is mostly the blues and arrangements<br />
<br />
are fitting the repertoire well, so there is simply not<br />
<br />
enough hard driving swing"<br />
<br />
<br />
GETZ MEETS MULLIGAN IN HI-FI (1957)<br />
<br />
Credits:<br />
Stan Getz (ts, bars) Gerry Mulligan (bars, ts) Lou Levy<br />
<br />
(p) Ray Brown (b) Stan Levey (d)<br />
Los Angeles, CA, October 12, 1957<br />
<br />
Tracklist:<br />
<br />
01 Let's Fall In Love<br />
02 Anything Goes<br />
03 Too Close For Comfort<br />
04 That Old Feeling<br />
05 This Can't Be Love<br />
06 Ballad<br />
07 Scrapple From The Apple<br />
08 I Didn't Know What Time It Was<br />
<br />
<br />
"Jazz is our delight brother cats. Life is so boring<br />
<br />
sometimes that you and I, my jazz friends, deserve to<br />
<br />
take a pause and enjoy the marvel of music to lift us up.<br />
<br />
You can't find a more delightful listening experience<br />
<br />
than this encounter between Getz and Jeru. It is<br />
<br />
fantastic believe me. This record is something that when<br />
<br />
I turn back to it, it makes me discover again why I love<br />
<br />
jazz. It has been one of the first jazz albums I did buy,<br />
<br />
something like 15 years ago ... it's still refreshing after<br />
<br />
all these years. It is light, funny, swinging, splendid ... it is<br />
<br />
simply one of the best examples of Jazz you can find out<br />
<br />
there. Jazz the fifties way of course, not that thing<br />
<br />
that today some people call jazz that is unbelievably<br />
<br />
boring. This is Jazz. And you can't stop to stomp your<br />
<br />
feet. You have a fantastic rhythmn section, Stan Levey<br />
<br />
and Ray Brown, MEN, so the swing is garanteed =)))))).<br />
<br />
Lou Levey played the piano (one of the best in the west<br />
<br />
coast movement). Than you have a couple of the best<br />
<br />
soloists that EVER graced the history of Jazz music,<br />
<br />
Stan Getz and Gerry Mulligan (THE man who plays the<br />
<br />
bari, nothing more to add here). The program begins with<br />
<br />
the splendid "Let's fall in love" and it's all there. They're<br />
<br />
all swingers except for the wonderful tune "A ballad"<br />
<br />
which is, of course, a ballad. You evena have a Charlie<br />
<br />
Parker number, Scrapple. The joy of swing, a music that<br />
<br />
these guys plays perfectly, light as butterflies, deep as<br />
<br />
oceans. THEY'RE TRUE MASTER!!! Every tune is a<br />
<br />
master interpretations. Than Stan and Jeru change<br />
<br />
horns and demonstrate to us (if necessary) how good<br />
<br />
thay could play with another type of instrument. It is<br />
<br />
simply a perfect album, jazzcats, if you don't own it...<br />
<br />
YOU SHOULD. YOU SHOULD. "<br />
<br />
"Stan & Gerry play beautifully on this recording. Their<br />
<br />
energy is infectious, their sound is full, and their ideas<br />
<br />
are spontaneous and creative. On almost all the cuts<br />
<br />
you'll hear Stan & Gerry improvising on the same chorus.<br />
<br />
They do it so well you almost don't realize it's happening<br />
<br />
unless you really listen. This kind of playing is impossible<br />
<br />
without the big ears both these guys had. The rhythm<br />
<br />
section is great as well, but the horns are what stand out<br />
<br />
in my memory."<br />
<br />
<br />
ELLA FITZGERALD - Like Someone In Love (1957)<br />
<br />
Credits:<br />
Ella Fitzgerald with Frank De Vol Orchestra Ella<br />
<br />
Fitzgerald (v) Stan Getz (ts) Frank De Vol (cnd)<br />
<br />
Unknown Orchestra<br />
<br />
Tracklist:<br />
<br />
01 Duplicate - There's A Lull In My Life - Do Not Use<br />
<br />
3:28<br />
02 More Than You Know 3:17<br />
03 What Will I Tell My Heart 3:31<br />
04 I Never Had A Chance 2:46<br />
05 Close Your Eyes 2:56<br />
06 We'll Be Together Again 3:21<br />
07 Then I'll Be Tired Of You 3:14<br />
08 Like Someone In Love 3:10<br />
09 Midnight Sun 3:58<br />
10 I Thought About You 2:54<br />
11 You're Blase 3:58<br />
12 Night Wind 3:18<br />
13 What's New 3:08<br />
14 Hurry Home 4:41<br />
15 How Long Has This Been Going On? 5:51<br />
16 I'll Never Be The Same 4:26<br />
17 Lost In A Fog 4:02<br />
18 Everything Happens To Me 3:55<br />
19 So Rare 3:34<br />
<br />
<br />
"my all time favorite album, i play it almost everyday. if<br />
<br />
you are comtemplating the purchase of your first ella<br />
<br />
fitzgerald cd, this is great place to start. it is beautiful<br />
<br />
music that any adult listener can enjoy.a fine collection<br />
<br />
of jazz and pop standards sung with incredible beauty. it<br />
<br />
must have been a songwriters dream to have ella sing one<br />
<br />
of your compositions.she respects the melody and<br />
<br />
composers intentions while still improvising with taste<br />
<br />
and imagination.while difficult any cuts my favorites are<br />
<br />
there's a lull in my life, i tought about you and what's<br />
<br />
new. trust me, you will love it."<br />
<br />
"There's not too much more to say that hasn't already<br />
<br />
been said. This album was originally recorded about 1957<br />
<br />
and has Stan Getz guesting on about 4 tracks. Although,<br />
<br />
Ella turned out some fine songbooks, this is the only<br />
<br />
album (still call them that....since my original was on vinyl)<br />
<br />
that I have where she sings strictly ballad standards<br />
<br />
with an orchestral background. Her voice was great, the<br />
<br />
delivery is smooth and appealing, and the cd is definitely<br />
<br />
late night music for relaxing or romancing.If ballads,<br />
<br />
Ella, standards, vocals with orchestral backgrounds are<br />
<br />
your thing..... any one or in combination......you can't go<br />
<br />
wrong with this!"<br />
<br />
"The best lush Ella Fitzgerald album, orchestrations so<br />
<br />
creamy it's fattening to listen to it. For the best of the<br />
<br />
acoustic Ella get the duet lps with Ellis Larkins including<br />
<br />
her unforgettable ballad reading of "My Heart Belongs<br />
<br />
to Daddy". "Like Someone" isn't jazz really, it's velvety<br />
<br />
pop. But never just sound for the sake of sound, never<br />
<br />
mere surface noise. Ella F. remains supremely intelligent<br />
<br />
no matter what the setting is. She was the most versatle<br />
<br />
of her peers."<br />
<br />
THE SILVER COLLECTION (1957) with OSCAR<br />
<br />
PETERSON<br />
<br />
Tracklist:<br />
<br />
01 I Want To Be Happy<br />
02 Pennies From Heaven<br />
03 Ballad Medley<br />
04 I'm Glad There Is You<br />
05 Tour's End<br />
06 I Was Doing All Right<br />
07 Bronx Blues<br />
08 Three Little Words<br />
09 Detour Ahead<br />
10 Sunday<br />
11 Blues For Herky<br />
<br />
<br />
Stan Getz and Oscar Peterson were both consummate<br />
<br />
performers, comfortable at any tempo, when they met<br />
<br />
for this 1957 recording, and they're clearly enjoying one<br />
<br />
another's skills on ballads and uptempo tunes alike. The<br />
<br />
group is one of the finest editions of Peterson's trios,<br />
<br />
with bassist Ray Brown and guitarist Herb Ellis. It's<br />
<br />
virtually a machine for quiet swing, and the absence of a<br />
<br />
drummer lets Getz's silky sound come to the fore with<br />
<br />
all its details intact. For all his fame as a virtuosic<br />
<br />
pianist, Peterson is an underrated accompanist. He<br />
<br />
complements a soloist with deft fills and unobtrusive<br />
<br />
propulsion, and the backgrounds he supplies here are as<br />
<br />
subtle as his solos are extroverted. The program is a<br />
<br />
good mix of standards and Getz originals, including the<br />
<br />
joyous "Tour's End," while the extended ballad medley<br />
<br />
could define jazz lyricism. There's also a brief but<br />
<br />
infectious version of Ellis's "Detour Ahead," the<br />
<br />
guitarist's early and highly successful foray into<br />
<br />
songwriting. --Stuart Broomer<br />
<br />
"This CD presents a very important collaboration. Stan<br />
<br />
Getz may be the most lyrical tenor saxophone player to<br />
<br />
have ever graced the face of the earth. Only Lester<br />
<br />
Young comes close. Prez modeled his sound on that of<br />
<br />
Frankie Trumbauer's C-melody saxophone, and Getz'<br />
<br />
model is Prez. Both of them transcend Trumbauer's<br />
<br />
syrupy improvisations. Getz' tone and the lyricism it<br />
<br />
supports are evident. All of this is for context, of<br />
<br />
course. This recording is truly a major musical event. It<br />
<br />
was on a par with Lester Young's famous collaborations<br />
<br />
with Teddy Wilson and Oscar Peterson. During this 1957<br />
<br />
recording session, all of which is on the CD, Peterson's<br />
<br />
trio and Getz were more than comfortable with one<br />
<br />
another, and their mutual musical respect yielded classic<br />
<br />
performances . The cooperation is evident in Getz' solo<br />
<br />
on "I Want to Be Happy," a model of precision and lyrical<br />
<br />
invention. Peterson's solos are equally impressive; there's<br />
<br />
no unnecessary embellishment or decoration, and he<br />
<br />
swings powerfully. The long ballad medley--"Bewitched,<br />
<br />
Bothered, and Bewildered," "I Don't Know Why, I Just<br />
<br />
Do," "How Long Has This Been Going On?", "I Can't Get<br />
<br />
Started," and "Polka Dots and Moonbeams"--features<br />
<br />
fine solos by Getz and Peterson as well as Herb Ellis on<br />
<br />
guitar and Ray Brown on bass. In the interplay between<br />
<br />
the trio and Getz in such numbers as Getz' "Bronx Blues."<br />
<br />
the quartet sounds like a permanent group. In "Three<br />
<br />
Little Words" Ellis sets down a solid rhythm and Peterson<br />
<br />
comps behind Getz' opening solo before delivering an<br />
<br />
eloquent statement of his own which Getz answers with<br />
<br />
equal grace. The Getz-Peterson collaboration is<br />
<br />
particularly appealing on Ellis' "Detour Ahead," a prime<br />
<br />
instance of their treatment of ballad material. On<br />
<br />
"Sunday" Ray Brown's persistent bass and Ellis'<br />
<br />
percussive guitar support Getz admirably. The quartet<br />
<br />
even approximates a rhythm 'n blues song with Getz'<br />
<br />
"Blues for Herky." It's not every day that you hear Herb<br />
<br />
Ellis playing blues guitar with Oscar Peterson doing<br />
<br />
boogie woogie and Stan Getz blowing like he was in a<br />
<br />
jump band. But here it is, and it comes as a surprise<br />
<br />
bonus with some really superb jazz."<br />
<br />
"I just got this CD, and I love it. Very soothing and<br />
<br />
relaxing. The emphasis is definitely on Getz; he plays<br />
<br />
over Oscar's piano, so it's more Stan Getz than the<br />
<br />
Oscar Peterson Trio. If you're a fan of Getz, you'll love<br />
<br />
this album."<br />
<br />
"This is hands-down, the best jazz album I've ever<br />
<br />
owned. Whether sitting in front of the speakers with<br />
<br />
eyes closed, absorbing every note, or using it as<br />
<br />
unobtrusive (but swingin') background music while I<br />
<br />
work, this album shines. If you're an audio snob who<br />
<br />
expects every last KHz of treble to be there, you will be<br />
<br />
dissappoined. The audio quality is only on par with a good<br />
<br />
cassette tape, but the music more than makes up for it."<br />
<br />
STAN GETZ WITH CAL TJADER (1958)<br />
<br />
Credits:<br />
Cal Tjader / Stan Getz Sextet:Stan Getz (ts) Cal Tjader<br />
<br />
(vib) Eddie Durham (g) Vince Guaraldi (p) Scott LaFaro<br />
<br />
(b) Billy Higgins (d)<br />
<br />
Tracklist:<br />
<br />
01 Ginza Samba 10:57<br />
02 I've Grown Accustomed To Her Face 3:57<br />
03 For All We Know 5:42<br />
04 Crow's Nest 8:18<br />
05 Liz-Anne 3:46<br />
06 Big Bear 4:32<br />
07 My Buddy<br />
<br />
<br />
Sure, it's only 43 minutes long, but what a CD. Getz and<br />
<br />
Tjader had long tried to work together and when they<br />
<br />
finally did record, their styles melded perfectly. Eddie<br />
<br />
Duran is a wonder on guitar. Scott LaFaro, who would<br />
<br />
later play bass for Bill Evans' most formiable line up, and<br />
<br />
whose life was tragically cut short, shows that even<br />
<br />
early in his career, he could hold his own with anyone.<br />
<br />
Great music and an important piece to each of these<br />
<br />
artist's careers."<br />
<br />
"This is a great pairing of talent, as well as of style. Yes,<br />
<br />
it leaves you wanting more, but what is here is special. An<br />
<br />
extra added treat on this one is the really great guitar<br />
<br />
playing of Eddie Duran, whose playing, especially on his<br />
<br />
harmony lines with Stan, give this recording added<br />
<br />
appeal. What a great player. "Ginza Samba", "Crow's<br />
<br />
Nest", and "Liz-Anne" are my favorites, though<br />
<br />
everything else shines as brightly."<br />
<br />
<br />
STAN GETZ / CHET BAKER - STAN MEETS CHET<br />
<br />
(1958)<br />
<br />
Credits:<br />
Chet Baker (tp -2/4) Stan Getz (ts) Jodie Christian (p)<br />
<br />
Victor Sproles (b) Marshall Thompson (d)<br />
Robert Jordan & Associates Recorders, Chicago, IL,<br />
<br />
February 16, 1958<br />
<br />
Tracklist:<br />
<br />
01 Jordu<br />
02 Medley: Autumn In New York / Embraceable You /<br />
<br />
What's New?<br />
03 I'll Remember April<br />
04 Half-Breed Apache<br />
<br />
"This session was recorded in 1958 in Chicago and<br />
<br />
features Getz, the saxophonist highly influenced by<br />
<br />
Lester Young and Chet Baker,the trumpet player<br />
<br />
considered a Miles Davis devotee...both are quality<br />
<br />
known men and rumour has it they have been at odds<br />
<br />
with one another so perhaps what comes as a surprise is<br />
<br />
their pairing on this CD (only on 1/2 of the cuts). The<br />
<br />
music is also found on a USA release so don't buy this<br />
<br />
pricey import...The USA Verve release has great sound<br />
<br />
and the tracks are standard fare..I'll Remember<br />
<br />
April,Autumn In New York/Embraceable You/What's<br />
<br />
New(medley),Jordu and Cherokee(Half Breed<br />
<br />
Apache)...you won't be disappointed and it has it's fine<br />
<br />
moments with Getz's longer notes and Baker's sparser<br />
<br />
delivery...It runs over 50 minutes and is a worthy<br />
<br />
collection fusing West and East in Chicago minus the<br />
<br />
Blues but nonetheless nice music and a worthy CD to<br />
<br />
have. If the tracks were played more together with 2<br />
<br />
men it would have been a sure 5 star..they are<br />
<br />
accompanied by piano,drums and bass... " All the reviews of the Stan Getz albums I've got done so far for my collection!tag:stangetz.ning.com,2009-09-20:2085102:Topic:212692009-09-20T18:35:12.797ZRichard Ransomhttp://stangetz.ning.com/profile/RichardRansom
All The Stan Getz reviews that I've got done from my<br />
<br />
collection........<br />
<br />
Stan Getz Quintet featuring Jimmy Raney The Birdland<br />
<br />
Sessions 1952<br />
<br />
Credits:<br />
Jimmy Raney, Horace Silver, Charlie Mingus, Connie Kay,<br />
<br />
Duke Jordan, Gene Ramey, Phil Brown<br />
<br />
Tracklist:<br />
<br />
01 Woody'n You<br />
02 Yesterdays<br />
03 The Song is You<br />
04 I Only Have Eyes For You<br />
05 Move06 Long Island Sound<br />
07 'Round Anout Midnight<br />
08 Spotlite<br />
09 Yesterdays<br />
10 Potter's Luck<br />
11 I Can't Get Started<br />
12 Parker 51<br />
13 My Old Flame<br />
14 Move<br />
<br />
<br />
On this…
All The Stan Getz reviews that I've got done from my<br />
<br />
collection........<br />
<br />
Stan Getz Quintet featuring Jimmy Raney The Birdland<br />
<br />
Sessions 1952<br />
<br />
Credits:<br />
Jimmy Raney, Horace Silver, Charlie Mingus, Connie Kay,<br />
<br />
Duke Jordan, Gene Ramey, Phil Brown<br />
<br />
Tracklist:<br />
<br />
01 Woody'n You<br />
02 Yesterdays<br />
03 The Song is You<br />
04 I Only Have Eyes For You<br />
05 Move06 Long Island Sound<br />
07 'Round Anout Midnight<br />
08 Spotlite<br />
09 Yesterdays<br />
10 Potter's Luck<br />
11 I Can't Get Started<br />
12 Parker 51<br />
13 My Old Flame<br />
14 Move<br />
<br />
<br />
On this splendid live recording from Birdland from the<br />
<br />
spring and summer of 1952 we find Getz in sparkling<br />
<br />
form. The mixture is typical of his repertoire of that<br />
<br />
period bop originals, bebop variations on well known<br />
<br />
tunes 'Long Island Sound' is based on 'Zing Went the<br />
<br />
Strings of my Heart', for instance, and ballads. His<br />
<br />
sound and general approach seem anything but cool, on<br />
<br />
joyful romps through the extended up tempo tracks;<br />
<br />
moreover between Getz and guitarist Jimmy Raney there<br />
<br />
existed an excellent rapport, and the two men and their<br />
<br />
instruments blended well together. It is not surprising<br />
<br />
therefore that Raney, with his own quiet and unhurried<br />
<br />
approach, was the longest serving member of the Stan<br />
<br />
Getz groups of this period. More than an hour of Stan<br />
<br />
Getz is always welcome. "<br />
<br />
<br />
WEST COAST LIVE (1953) with CHET BAKER<br />
<br />
Credits:<br />
Chet Baker (tp) Stan Getz (ts) Carson Smith (b) Larry<br />
<br />
Bunker (d) "The Haig", Hollywood, CA, June 12, 1953<br />
<br />
Chet Baker (tp -1) Stan Getz (ts) Russ Freeman (p)<br />
<br />
Carson Smith (b) Shelly Manne (d) Tiffany Club without<br />
<br />
audience, Los Angeles, CA, August 17, 1954(CD 2 -tracks<br />
<br />
5-7)<br />
<br />
CD 1<br />
<br />
01 My Funny Valentine<br />
02 Strike Up The Band<br />
03 The Way You Look Tonight<br />
04 Yardbird Suite<br />
05 Yesterdays<br />
06 Winter Wonderland<br />
07 Come Out Wherever You Are<br />
08 Move<br />
09 What's New?<br />
10 Half Nelson<br />
11 Little Willie Leaps<br />
12 Soft Shoe<br />
13 whispering<br />
<br />
CD 2<br />
<br />
01 Bernie's Tune<br />
02 All The Things You Are<br />
03 Winter Wonderland (take 2)<br />
04 Gone With The Wind<br />
05 All The Things You Are<br />
06 Darn That Dream<br />
07 Crazy Rhythm<br />
<br />
<br />
"True, Getz' jealousy of Baker's musical talent and<br />
<br />
popularity has always been a factor in their musical<br />
<br />
relationship. Nowhere is this seen more flagrantly than<br />
<br />
on the 3CD Getz/Baker "The Stockholm Concerts"<br />
<br />
2/18/83 performances (Verve 537 555-2). This should<br />
<br />
not be a factor to discourage a fan of either musician<br />
<br />
from purchasing this release. Frequently, the competition<br />
<br />
between musicians creates some fantastic creative<br />
<br />
improvisation, and that's exactly what "West Coast Live"<br />
<br />
documents. Both Getz and Baker are youthful and fluid<br />
<br />
in their ideas. Baker's chops are solid, as he has teeth at<br />
<br />
this period of his career. The selection of Bop classics<br />
<br />
couldn't be more pleasing. I have listened to these disks<br />
<br />
close to 100 times, and still hear new content. True,<br />
<br />
Getz' ego has always run away with itself when in the<br />
<br />
presence of Baker, but that's what keeps both musicians<br />
<br />
on their toes. Personally, I do feel Baker was overly<br />
<br />
passive and unfairly abused by Getz, but feeling sorry<br />
<br />
for him is unnecessary. Baker stands on his own quite<br />
<br />
well, and in my opinion, steals the show on these classic<br />
<br />
live performances. No wonder Getz' was jealous! "<br />
<br />
<br />
DIZ AND GETZ / DIZZY GILLESPIE - DIZ AND GETZ<br />
<br />
(1953)<br />
<br />
Credits:<br />
Dizzy Gillespie (tp) Stan Getz (ts) Oscar Peterson (p)<br />
<br />
Herb Ellis (g) Ray Brown (b) Max Roach (d)<br />
Radio Recorders, Hollywood, CA, December 9, 1953<br />
<br />
Tracklist:<br />
<br />
01 It Don't Mean A Thing (If You Ain't Got That Swing)<br />
02 I Let A Song Go Out Of My Heart<br />
03 Exactly Like You<br />
04 It's The Talk Of The Town<br />
05 Impromptu<br />
06 One Alone<br />
07 Girl Of My Dreams<br />
08 Siboney (Part 1)<br />
09 Siboney (Part 2)<br />
<br />
<br />
"This early meeting between Diz and Getz may be more<br />
<br />
satisfying than the duets with Rollins and Stitt, the<br />
<br />
meeting with both ("Sonny Side Up"), or the three-way<br />
<br />
interaction of Diz, Getz and Stitt on "For Musicians<br />
<br />
Only." On this Diz-Getz '54 recording, the presence of<br />
<br />
Oscar Peterson is a definite plus, providing the session<br />
<br />
with a bit more firepower than the aforementioned<br />
<br />
dates. This is relatively early Diz--before the bent<br />
<br />
upswept bell--but he's in peak form, and the fidelity<br />
<br />
isn't wanting. Getz sounds relaxed and ready to play<br />
<br />
Dizzy's own game, even mimicking some of the master<br />
<br />
player's licks. (The tone that the saxophonist gets when<br />
<br />
he tries to play "hard" has always sounded "roosterish"<br />
<br />
to me. Here we get the inimitable "cool" sound of Getz<br />
<br />
carrying a man's load.) Some listeners may recoil at a<br />
<br />
program (no doubt Granz-inspired) that includes "Girl of<br />
<br />
My Dreams" and two parts of Lecuona's "Siboney." I say<br />
<br />
good riddance to so much of the current fare that<br />
<br />
passes for "original" songwriting. There are also some<br />
<br />
listeners who will complain that these Granz Verve<br />
<br />
sessions lack the rhythmic thrust of Van Gelder's many<br />
<br />
Blue Note dates. The difference is partly due to the<br />
<br />
music idiom and its practitioners (these are musicians<br />
<br />
more interested in the "language" of bebop than the<br />
<br />
"groove" of hard bop) but also to recording engineers.<br />
<br />
Van Gelder "enhances" the horns, boosts bass, drums,<br />
<br />
and alters the piano sound to a degree than would simply<br />
<br />
be unacceptable to an Oscar Peterson. The Blue Notes<br />
<br />
have their place, but suffice it say that the musicians on<br />
<br />
this more "natural-sounding" Verve recording would be<br />
<br />
done a disservice by any tampering with the sound.<br />
<br />
Finally, this is relaxed but still stunning Gillespie, even<br />
<br />
down to his "funky" solo on the quirky inclusion of a<br />
<br />
Gillespie original ("One Alone") that features an entirely<br />
<br />
different rhythm section along with tenor saxophonist<br />
<br />
Hank Mobley! (Far too little--likely to make any listener<br />
<br />
with ears go crazy looking for a complete session<br />
<br />
featuring this pair.)"<br />
<br />
"This is a classic recording. One that should be heard by<br />
<br />
all jazz fans. The ignorant notion that Stan Getz got<br />
<br />
wiped out by Dizzy is preposterous. Both musicians play<br />
<br />
their hearts out. Of course Dizzy plays great here - he<br />
<br />
was at the top of his game. But Stan TOTALLY keeps up<br />
<br />
with Diz. One wishes that the producers/engineers<br />
<br />
hadn't made Diz play with the cup mute so much. Listen<br />
<br />
to Stan's amazing facility, clean articulation, and fleet<br />
<br />
fingers on the incredibly up-tempo "Don't Mean A<br />
<br />
Thing." Stan also plays beautifully on the ballad "Talk of<br />
<br />
the Town". For top musicians like these two, it was all<br />
<br />
about furthering the music. The game of "who won the<br />
<br />
jazz boxing match" is left to half informed<br />
<br />
non-musicians who don't know how difficult it is to play<br />
<br />
on the level of these two superb gentlemen."<br />
<br />
"Excellent record, among Diz's finest outings on Verve.<br />
<br />
The song selection is classic and leaves plenty of blowing<br />
<br />
room, the best workout being the Ellington tune "It<br />
<br />
Don't Mean a Thing...", in which Diz lights a fire so hot it<br />
<br />
seems like the rest of the band is playing out of sheer<br />
<br />
terror. On this track you'll hear what may well be Getz's<br />
<br />
most frenetic solo, along with one of Oscar Peterson's<br />
<br />
best. But there are a number of ballads as well, more<br />
<br />
conducive to Getz's cool, cooing tone, to relax things a<br />
<br />
bit.In the liner notes OP recounts how Diz came into this<br />
<br />
session wanting "a piece of Stan Getz, bad... he wanted<br />
<br />
to take advantage of someone, and i decided it wasn't<br />
<br />
going to be me." Diz again succeeds in drawing incredible<br />
<br />
performances out of his band, getting them to play<br />
<br />
beyond themselves. Top shelf stuff.Also, if you like this<br />
<br />
one, get "Sonny Side of the Street" with Diz, Sony<br />
<br />
Rollins and Sonny Stitt. It's another case of the<br />
<br />
bandleader challenging his band, and evoking incredible<br />
<br />
performances."<br />
<br />
<br />
AT THE SHRINE-LIVE (1954)<br />
<br />
Credits:<br />
Bob Brookmeyer (vtb) Stan Getz (ts) John Williams (p)<br />
<br />
Bill Anthony (b) Art Mardigan (d)<br />
"Shrine Auditorium", Los Angeles, CA, November 8, 1954<br />
<br />
Tracklist:<br />
<br />
01 Flamingo [Live]<br />
02 Lover Man [Live]<br />
03 Pernod [Live]<br />
04 Tasty Pudding [Live]<br />
05 I'll Remember April [Live]<br />
06 Polka Dots and Moonbeams [Live]<br />
07 Open Country<br />
08 It Don't Mean a Thing (If It Ain't Got That Swing)<br />
<br />
[Live]<br />
09 We'll Be Together Again<br />
10 Feather Merchant<br />
<br />
<br />
"This was 1954 Stan Getz in concert, live, Stan's tenor<br />
<br />
voice, my first album ever, I still have it, the original LP,<br />
<br />
and 2 CDs, 1 spare and 1 for me to carry around. Stan<br />
<br />
Getz at his finest, melodic ballads but also fast tempos<br />
<br />
with an amazing piano player called John Williams. This is<br />
<br />
all from memory, I do not need to see the album, I have<br />
<br />
all the solos in my head. Bob Brookmeyer is on valve<br />
<br />
trombone, he uses a strong depth of imagination.<br />
<br />
Wonderful. I sought him out some years ago in Toronto<br />
<br />
for a brief friendly chat from my side. Mostly I wander<br />
<br />
up to musicians casually, they always appreciate sincere<br />
<br />
compliments, but in Brookmeyer's case I was<br />
<br />
complimentary and respectful. Deservedly so... he was a<br />
<br />
leading member of the Quintet for Stan Getz at the<br />
<br />
Shrine. I think today this is an overlooked album but I<br />
<br />
promote it strongly to my friends and play it frequently.<br />
<br />
Drummers are Art Mardigan and Frank Isola, bass Bill<br />
<br />
Anthony. Listen first to Feather Merchant, this was done<br />
<br />
outside the concert in a studio but personnel is same. Is<br />
<br />
this not one of the best jazz things you have ever heard?<br />
<br />
I love it (I have 600 CDs some classical but mainly<br />
<br />
modern jazz, I have every album by Stan Getz) When you<br />
<br />
listen, take in also Al Cohen's composition Tasty Pudding<br />
<br />
for a real melodic treat, and the unforgettable<br />
<br />
Loverman, that was the first time I heard the song. Oh,<br />
<br />
and I have to tell you, there is a heckler in the audience<br />
<br />
at the Shrine, yes the dialogue is all there with the<br />
<br />
introduction and voice of Duke Ellington for Stan Getz<br />
<br />
being one of the leading exponents of the Cool<br />
<br />
School...Anyway Stan puts down the heckler, I won't tell<br />
<br />
you what he said but everyone laughs, it is very<br />
<br />
interesting to hear Stan's young voice, so tender... and<br />
<br />
then Getz says something which bound me to him forever<br />
<br />
"It's so quiet up here, you can feel your<br />
<br />
hearbeat...clearly" Here was a cool sounding<br />
<br />
tenorsaxman, at the top of his form... inventive,<br />
<br />
beautiful, a man and his music, he was my Man.. There<br />
<br />
was nobody else on tenor at the time. Brookmeyer was<br />
<br />
excellent too, I mean he was the best, you should also<br />
<br />
listen closely to the pianist. Wow, what an album!!! You<br />
<br />
buy, you will thank me..."<br />
<br />
"In the early 50's Norm Granz, owner of Verve, tried to<br />
<br />
get Jazz out of small smokey clubs and into large venues.<br />
<br />
Hence his "Jazz at the Philharmonic" series, pairing<br />
<br />
together on stage practically everybody in Jazz and<br />
<br />
everyone else . Results were generally mediocre, but a lot<br />
<br />
more people DID hear combo Jazz, which was progress.<br />
In this case, a young Stan the Man, the greatest<br />
<br />
saxophonist of all time, shared the spotlight with Bob<br />
<br />
Brookmeyer on valve trumbone. They played together off<br />
<br />
and on for years, one of the few other performers Stan<br />
<br />
genuinely respected, instead of treating as background.<br />
<br />
They play in a similar tone and range. Getz suggested in<br />
<br />
Downbeat that Brookmeyer be in the Stan Getz band,<br />
<br />
but Brookmeyer objected and Getz backed off and said<br />
<br />
this was wishful thinking.<br />
Herein they play complex bebop duet and ballads.<br />
<br />
Pleasant melded tone, clever without ever being in your<br />
<br />
face, it's the best of the Norm Granz pairings. Getz's<br />
<br />
sax and Brookmeyer's valve trombone dance around each<br />
<br />
other in intricate arabesque arrangements. Most of the<br />
<br />
rest of Getz other albums are solos with combo<br />
<br />
accompanyment, or with Chet Baker, when everyone gets<br />
<br />
a turn, true duets like this were quite unusual for Stan.<br />
Samples don't do justice to the music, selections should<br />
<br />
have started with the music, not the talk."<br />
<br />
WEST COAST JAZZ (1955)<br />
<br />
Credits:<br />
Conte Candoli (tp) Stan Getz (ts) Lou Levy (p) Leroy<br />
<br />
Vinnegar (b) Shelly Manne (d)<br />
<br />
Tracklist:<br />
<br />
01 East Of The Sun (And West Of The Moon)<br />
02 Four<br />
03 Suddenly It's Spring<br />
04 Night In Tunisia<br />
05 Summertime<br />
06 S-h-i-n-e<br />
07 Split Kick<br />
08 Of Thee I Sing<br />
09 A Handful Of Stars<br />
10 Love Is Here To Stay<br />
11 Serenade In Blue<br />
12 Of Thee I Sing<br />
13 Love Is Here To Stay<br />
<br />
<br />
"Before he became a household name as the frontman<br />
<br />
for the Bossa Nova craze of the early 1960s, Stan Getz<br />
<br />
was one of the leading tenor saxophonists of the 1950s.<br />
<br />
In August 1955, Getz recorded "West Coast Jazz" in Los<br />
<br />
Angeles with four other relocated Easterners --<br />
<br />
trumpeter Conte Candoli, pianist Lou Levy, bassist Leroy<br />
<br />
Vinnegar and drummer Shelly Manne. Despite the fact<br />
<br />
that this was not your typical "West Coast" session --<br />
<br />
the playing was anything but cool or syrupy smooth --<br />
<br />
these musicians, along with the Clifford Brown-Max<br />
<br />
Roach Group, would become synonymous with a harder<br />
<br />
L.A. bop sound that would become the new left coast<br />
<br />
standard. "West Coast Jazz" features great versions of<br />
<br />
Miles Davis' "Four," Dizzy Gillespie's "A Night in Tunisia"<br />
<br />
and Gershwin's "Summertime" among other cuts. This<br />
<br />
remastered Verve disc also boasts five songs not<br />
<br />
included on the original LP issue, two alternate takes,<br />
<br />
and a sumptuous gatefold digipak with extensive liner<br />
<br />
notes. For anyone who loves Getz albums like "The<br />
<br />
Steamer" or "Award Winner," or Shelly Manne's "At The<br />
<br />
Blackhawk" volumes, "West Coast Jazz" is where this<br />
<br />
sound all started."<br />
<br />
"I've shied away from Stan Getz in the past because<br />
<br />
I've always associated him with bossa nova, and I get no<br />
<br />
listening pleasure from that style whatsoever. So it was<br />
<br />
by sheer luck, and my good fortune, that I was driving<br />
<br />
around a few months ago without a CD, searching<br />
<br />
through the radio looking for something good. I stopped<br />
<br />
when I heard some swinging jazz coming through a<br />
<br />
station. Not big band swing, but more of a smooth and<br />
<br />
smoky sound, straddling the line between bop and swing<br />
<br />
without being precisely one or the other. At the end of<br />
<br />
the track, I was quite surprised to hear the announcer<br />
<br />
tell me that that was from Stan Getz's "The Steamer".<br />
<br />
When I got home, I hopped online and sampled more<br />
<br />
tracks from that album. Good stuff - so I went out and<br />
<br />
bought the whole album, and have been loving it ever<br />
<br />
since. "The Steamer" was good enough that I knew it<br />
<br />
wouldn't be the last Getz I'd get. After that, I read up<br />
<br />
a little more on Getz, and discovered that there was a lot<br />
<br />
more to him than The Girl From Ipanema. Since I had to<br />
<br />
go to Tower to exchange an unwanted DVD gift, I went<br />
<br />
thumbing through the racks to see if anything jumped<br />
<br />
out at me. His "West Coast Jazz" caught my eye, since it<br />
<br />
was mid 50's pre-bossa nova, and a full CD of over 70<br />
<br />
minutes. Plus, it had covers of Miles Davis's Four, Dizzie<br />
<br />
Gillespie's A Night In Tunisia, and Horace Silver's Split<br />
<br />
Kick. Seemed like a no-brainer. Where have I been? Why<br />
<br />
has this sax tone been hiding from me? What I heard on<br />
<br />
"The Steamer" continues here. Sweet without being<br />
<br />
cloyingly so, cool without sounding pretentious. The<br />
<br />
trumpet on its own it's not that harsh, but Getz's tenor<br />
<br />
sax is so smooth that when the trumpet comes in, the<br />
<br />
contrast is that much more evident in its sharpness. Pick<br />
<br />
your favorite cliche - baby's bottom, silk, satin - Getz is<br />
<br />
smoother than all of 'em. And the rest of the band who<br />
<br />
fills out the quintet is absolutely perfect. It's Conte<br />
<br />
Candoli's trumpet and Lou Levy's piano that are the<br />
<br />
other prominent instruments here, with the bass and<br />
<br />
drums holding down the rhythm with consummate<br />
<br />
professionalism. I don't listen to the Woody Harman<br />
<br />
Band (maybe I should), but that band's members who<br />
<br />
appear behind Getz support him perfectly. Nobody's<br />
<br />
stepping on anybody's toes. With more than half of the<br />
<br />
songs over six minutes there's plenty of time for<br />
<br />
charismatic phrasing all around. No need to go song by<br />
<br />
song; I've only gone through this a few times, but every<br />
<br />
track can stand on its own. I've already loaded this into<br />
<br />
my computer at work so I won't be without it. The only<br />
<br />
thing that would make this more complete would be if it<br />
<br />
were sold with a martini with two olives."<br />
<br />
<br />
HAMP AND GETZ (1955) with LIONEL HAMPTON<br />
<br />
Credits:<br />
Stan Getz Quartet / Lionel Hampton Stan Getz (ts)<br />
<br />
Lionel Hampton (vib) Lou Levy (p) Leroy Vinnegar (b)<br />
<br />
Shelly Manne (d)<br />
<br />
Tracklist:<br />
<br />
01 Cherokee<br />
02 Ballad Medley<br />
03 Louise<br />
04 Jumpin At The Woodside S<br />
05 Gladys<br />
06 Gladys<br />
07 Headache<br />
<br />
<br />
"Norman Granz (Verve founder and JATP Producer)<br />
<br />
must have been like a kid in a candy store in the 1950's<br />
<br />
when he was planning which all-stars to pair in various<br />
<br />
recordings and tours. His stable included a virtual who's<br />
<br />
who of big band legends and jazz up-and-comers and this<br />
<br />
session represents exactly that kind of pairing. You have<br />
<br />
Lionel Hampton on vibes, swing band icon who also<br />
<br />
became famous with the Benny Goodman small groups<br />
<br />
and Stan Getz on tenor who, at the time of this<br />
<br />
recording wasn't all that far removed from his seat in<br />
<br />
the famous "Four Brothers" sax section of Woody<br />
<br />
Herman. Backed by the quintessential west coast rhythm<br />
<br />
section of Levy, Vinnegar and Manne.....it swings!"<br />
<br />
"Both Stan Getz and Lionel Hampton were in Hollywood<br />
<br />
appearing in the movie "The Benny Goodman Story" when<br />
<br />
they took some time off to record these sides for<br />
<br />
Norman Granz's Verve label. (Hamp was even busier:<br />
<br />
later on that day [8/1/55] he would cut an album for<br />
<br />
Granz with Art Tatum and Buddy Rich, and the next day<br />
<br />
he'd bring his big band into the studios to cut yet<br />
<br />
another LP). Both men are in fine form and work well<br />
<br />
together. CHEROKEE, taken up-tempo, has an especially<br />
<br />
fine solo by Hamp. The other scorcher on the album,<br />
<br />
JUMPIN' AT THE WOODSIDE, has a good solo by<br />
<br />
pianist Lou Levy and some uncharacteristic honking by<br />
<br />
Stan (Getz plays more of an outline of a solo on this<br />
<br />
number, hitting in spots only the major note in each<br />
<br />
chord, rather than filling it out). On the slower numbers<br />
<br />
Getz is very breathy - you can hear the air escaping from<br />
<br />
the vibrating reed. GLADYSE is a handsome blues by<br />
<br />
Hamp (named after his wife) and we get two takes here:<br />
<br />
the issued take is taken a bit faster than the alternate,<br />
<br />
and during the exchange of choruses in the alternate<br />
<br />
Hamp loses count and hits a clam. There's an unknown<br />
<br />
trombone player added on HEADACHE (conjecture says<br />
<br />
it might be Willie Ruff), but he's very much in the<br />
<br />
background. HAMP AND GETZ is a wonderful success<br />
<br />
and is very easy to take. This is what mainstream jazz at<br />
<br />
it's finest is all about."<br />
<br />
<br />
DIZZY GILLESPIE / STAN GETZ - For Musicians Only<br />
<br />
(1956)<br />
<br />
Credits:<br />
Dizzy Gillespie Stan Getz Sextet :Dizzy Gillespie (tp)<br />
<br />
Sonny Stitt (as) Stan Getz (ts) John Lewis (p) Herb Ellis<br />
<br />
(g) Ray Brown (b) Stan Levey (d)<br />
<br />
Tracklist:<br />
<br />
01 Bebop<br />
02 Dark Eyes<br />
03 Wee (Allen's Alley)<br />
04 Lover Come Back To Me<br />
05 Dark Eyes<br />
<br />
<br />
The modern jazz revolution which came to be known as<br />
<br />
bebop was distinguished by a level of melodic-harmonic<br />
<br />
complexity and rhythmic brinkmanship which required<br />
<br />
the most elevated levels of instrumental virtuosity<br />
<br />
imaginable. As if to drive the point home, composers such<br />
<br />
as trumpeter Dizzy Gillespie crafted certain tunes to<br />
<br />
function as musical obstacle courses, which quickly<br />
<br />
separated the men from boys--without mercy. Such is<br />
<br />
the premise on For Musicians Only, save that with a<br />
<br />
driving rhythm section keyed by bassist supreme Ray<br />
<br />
Brown, and saxophone masters Stan Getz and Sonny<br />
<br />
Stitt on board as the other horns, there is no shortage<br />
<br />
of musical fiber. Brisk tempos and challenging chord<br />
<br />
changes are the order of the day, with Gillespie's<br />
<br />
anthemic "Bebop" setting a daunting standard. The<br />
<br />
trumpeter is in peak form here and on a riveting "Lover<br />
<br />
Come Back to Me," articulating breathtaking runs and<br />
<br />
high-wire rhythmic variations with all the fluidity of a<br />
<br />
saxophone, but with a tart, crackling tone all his own.<br />
<br />
Stitt, as is wont, plays with incredible speed and<br />
<br />
rhythmic articulation, and anyone who visualizes Getz as<br />
<br />
no more than the arbiter of cool tenor, should take note<br />
<br />
of this sheep in wolf's clothing's relentless melodic<br />
<br />
intensity on "Wee (Allen's Alley)." --Chip Stern<br />
<br />
"The story behind this from my Dad's (Stan Levey) point<br />
<br />
of view is that everything was done in one take no 2nd<br />
<br />
takes no over dubbing. He had spent the whole day<br />
<br />
recording for TV, Mission Imposible Mannix etc. so he<br />
<br />
thought a date with Stan Getz this should be pretty laid<br />
<br />
back. Well nothing could be further from the truth he<br />
<br />
said "The count offs were breath taking but once they<br />
<br />
got thru BeBop everything settled down" his favorite was<br />
<br />
Wee Allen's Alley. It was virtually a live real Bebop<br />
<br />
session, nothing worked out, just play by the seat of<br />
<br />
your pants or get off the bandstand. Like it or not that<br />
<br />
was the way it was with Bird and those cats, the real<br />
<br />
thing no pretense"<br />
<br />
"I love, love, love this album. You can feel an incredible<br />
<br />
energy coming out of this record. Bebop was a serious<br />
<br />
music business in those days. If you were a jazz musician<br />
<br />
then you should be able to play with these monsters at<br />
<br />
the breakneck speed presented here. And I think it<br />
<br />
could sounded scaring ... Today you can't find in a<br />
<br />
thousands jazz records the same energy, the same<br />
<br />
stunning musicianship you can find here in this 58 date.<br />
<br />
Previous reviewers stated some very true things about<br />
<br />
this album. Among them the fact that at that time<br />
<br />
computer didn't exist. This is what happened in the<br />
<br />
studio, first take. No overdubs, no clearings in the mix.<br />
<br />
This is it. They play at this level. They practiced<br />
<br />
incredibly hard to gain this level and we should be<br />
<br />
grateful they did because listening to them is an<br />
<br />
unbelievable music experience. Second that the John<br />
<br />
Lewis rhythmn section is almost a neutral ground on<br />
<br />
which the soloists can be the most clearly visible. The<br />
<br />
combo did a stellar job in my opinion as a constant<br />
<br />
coherent base for the soloists and Stan Levey played<br />
<br />
here as one of the greatest drummers in Jazz. The three<br />
<br />
soloists are at the top of their game and I can't<br />
<br />
understand why some people tend to forget that Getz is<br />
<br />
another unbelievable technician. Maybe these guys have<br />
<br />
never had the opportunity to listen to "At storyville".<br />
<br />
Getz was not a "light feather" or a delicate player (not<br />
<br />
ONLY I mean...). He was a monster musician just as Stitt<br />
<br />
or Diz himself. Probably Diz here is the greatest, but it's<br />
<br />
not an easy task chosing who gave his very best among<br />
<br />
those three here. (.... personally I'm completly in love with<br />
<br />
Diz sense of drama and irony, he was, UNBELIEVABLE!!).<br />
<br />
Among the tunes I choose Bebop and Wee as the best<br />
<br />
here. Maybe Bebop first. It really is a perfect statement<br />
<br />
of what the new music was about. Try to imagine that<br />
<br />
prior to bebop, Jazz was that thing used as ballroom<br />
<br />
music. Music to shake bottoms! Here we are in front of<br />
<br />
pure intellectualism and musical refinement of the<br />
<br />
highest grade. The difference at that time surely scared<br />
<br />
more than one jazz aficionado. The sonic magma you are<br />
<br />
about to experience is something that can change your<br />
<br />
idea about jazz forever. Jazz unaware people generally<br />
<br />
tend to associate jazz with brushes and romantic ballads<br />
<br />
with singers. Give'em this fist in their faces and let 'em<br />
<br />
understand how serious, stellar and challenging Jazz can<br />
<br />
be. Listening to this album is always an incredible<br />
<br />
pleasure and it is one of the albums I bought first when<br />
<br />
I began to go deep into Jazz more than 20 years ago.<br />
<br />
This album should be entitled "For hipsters" or "For<br />
<br />
serious jazz listeners only" not for moldy figs. It's<br />
<br />
absolutly a masterpiece of the music of the past century.<br />
<br />
Period."<br />
<br />
<br />
<br />
ANITA O'DAY - Pick Yourself Up with Anita O'Day<br />
<br />
(1956)<br />
<br />
Credits:<br />
Anita O'Day / Buddy Bregman Orchestra Anita O'Day<br />
<br />
(v) Pete Candoli, Conte Candoli (tp) Frank Rosolino (tb)<br />
<br />
Bud Shank (as) Stan Getz (ts) Jimmy Giuffre (bars)<br />
<br />
Barney Kessel (g) Paul Smith (p) Joe Mondragon (b) Alvin<br />
<br />
Stoller (d) Buddy Bregman (cnd, arr)December 20, 1956,<br />
<br />
Capitol Studios, Los Angeles CA<br />
<br />
Tracklist:<br />
<br />
01 Don't Be That Way 2:35<br />
02 Let's Face The Music And Dance 3:19<br />
03 I Never Had A Chance 4:25<br />
04 Stompin At The Savoy 3:21<br />
05 Pick Yourself Up 3:08<br />
06 Stars Fell On Alabama 2:54<br />
07 Sweet Georgia Brown 4:16<br />
08 I Won't Dance 3:29<br />
09 Man With The Horn 3:59<br />
10 I Used To Be Color Blind 3:12<br />
11 There's A Lull In My Life 3:20<br />
12 Let's Begin 2:25<br />
13 I'm With You 2:06<br />
14 The Rock And Roll Waltz 2:47<br />
15 The Getaway And The Chase 2:28<br />
16 Your Picture's Hanging Crooked On The Wall 2:31<br />
17 We Laughed At Love 3:11<br />
18 I'm Not Lonely 3:05<br />
19 Let's Face The Music And Dance 3:17<br />
20 Ivy 2:48<br />
21 Stars Fell On Alabama<br />
<br />
<br />
"It's a solid gas (if you can imagine such a state) to<br />
<br />
bump into this album again! I owned it on vinyl when it<br />
<br />
came out around 1960, and lost it to a jazz drummer on<br />
<br />
Mountain Drive in Santa Barbara. He also copped my girl<br />
<br />
friend, but that's another story. I almost played the<br />
<br />
grooves off that platter while I had it, and can pretty<br />
<br />
much remember the whole thing still. Very glad to find it<br />
<br />
again, and to recommend it to you."<br />
<br />
"This is my all time favorite Anita O'day Album. Anita<br />
<br />
O'day is five steps beyond amazing. Her vocal style<br />
<br />
can't be beat. Every song she sings gets the special<br />
<br />
O'day treatment and is forever more her own. The track<br />
<br />
listing of this album is just chocked full of winners! My<br />
<br />
favorite is Anita's rendition of 'Stars Fell On Alabama'.<br />
<br />
Its beautiful and moving. You can just feel the magic of<br />
<br />
the moment she is describing. Other super hits include<br />
<br />
the slinky 'Sweet Georgia Brown', the peppy 'Pick<br />
<br />
Yourself Up' and the bittersweet 'There's A Lull In My<br />
<br />
Life'. Also, this Cd gives you alternative takes on songs<br />
<br />
and the rockin bonus tracks 'Getaway and The Chase'<br />
<br />
and the classic 'Rock and Roll Waltz'. This is one of the<br />
<br />
records I play when I want to get into a good mood. It<br />
<br />
always makes me smile. Bottom line, Its a FANTASTIC<br />
<br />
album at a SUPER price. Don't miss it!"<br />
<br />
"Anita O'Day is one of the greatest jazz singers to<br />
<br />
emerge from the 40's, and was and is the best bebop<br />
<br />
singer from the 50's till present. This re-issue of the lp<br />
<br />
PICK YOUSELF UP WITH ANITA is one of her best lp's<br />
<br />
and is highly reccomended as are all of her verves.<br />
<br />
HIGHLY RECOMENDED."<br />
<br />
<br />
<br />
THE STEAMER (1956)<br />
<br />
Credits:<br />
Stan Getz (ts) Lou Levy (p) Leroy Vinnegar (b) Stan<br />
<br />
Levey (d)<br />
Radio Recorders, Hollywood, CA, November 24, 1956<br />
<br />
Tracklist:<br />
<br />
01 Blues For Mary Jane<br />
02 There Will Never Be Another You<br />
03 You're Blase<br />
04 Too Close For Comfort<br />
05 Like Someone In Love<br />
06 How About You?<br />
07 How About You?<br />
08 There Will Never Be Another You<br />
09 You're Blase<br />
10 Like Someone In Love<br />
11 How About You?<br />
<br />
<br />
"On this highly enjoyable record, wonderful music is<br />
<br />
played by Stan Getz and who in turn is very capably<br />
<br />
supported by the rhythm section of Lou Levy (piano),<br />
<br />
Leroy Vinnegar (bass) and the late great Stan Levey on<br />
<br />
drums. The inter action between this quartet is very<br />
<br />
sensitive as the respect for each other is clearly<br />
<br />
demonstrated through out this date. The pace of this<br />
<br />
record is mostly foot tapping stuff as the majority of<br />
<br />
numbers are up tempo. Stan's saxophone really steams<br />
<br />
along on these numbers with an exquisite tone. Getz<br />
<br />
always possessed a unique tone that was instantly<br />
<br />
identifiable as his. No wonder he was referred to as<br />
<br />
"The Sound". A special mention must be made for "You're<br />
<br />
Blase", the only real ballad on the record. I repeat what<br />
<br />
is stated in the linear notes that "new depths of lyricism<br />
<br />
can be heard on this beautiful track. There's a<br />
<br />
wonderful yearning quality in Getz's playing". Another<br />
<br />
bonus is the recording quality which is first class"<br />
<br />
"This 'Steamer' smells like roses! The musical layers pile<br />
<br />
on slowly. It keeps coming back to 'How about you'. As<br />
<br />
the mood builds, you can feel the internal pressure build<br />
<br />
until the final explosion.This reminds me a little of<br />
<br />
'Turtle Head' in 'Sticking Out'. It's theme is a series of<br />
<br />
runs up and down the emotional gamut.You can't go<br />
<br />
wrong with this one! It's a heap of fun. Nothing corny<br />
<br />
here!"<br />
<br />
"Stan Getz was given the name "Stanley the Steamer" by<br />
<br />
Oscar Peterson because his music "cooked" or<br />
<br />
"steamed".Mostly upbeat swing tempos, this cd is a lot<br />
<br />
like "West Coast Jazz". Good, solid performance, Stan<br />
<br />
and the guys stretch out a bit longer these more complex<br />
<br />
arrangements than he usually recorded during this<br />
<br />
period.Happy and upbeat, warm and sunny. Not many<br />
<br />
ballads."<br />
<br />
<br />
TUNE UP (1956/1961) with MILES DAVIS<br />
<br />
Credist:<br />
John Lewis, Milt Jackson, Scott LaFaro and special<br />
<br />
guest Lester Young.<br />
Tracks 1- 4 recorded 12 November 1956 in West<br />
<br />
Germany; tracks 5 - 7 recorded Sunday 2 July 1961 at<br />
<br />
the Newport [Rhode Island] Jazz Festival.<br />
<br />
Tracklist:<br />
<br />
01 How High the Moon<br />
02 Lester Leaps In<br />
03 Tune-Up<br />
04 What's New?<br />
05 Baubles, Bangles and Beads<br />
06 Where Do You Go?<br />
07 Airegin<br />
<br />
<br />
"This recording was made Monday 3 July 1961, eight<br />
<br />
days following the Sunday at the Village Vanguard<br />
<br />
recording of the Bill Evans Trio. Tuesday 4 July,<br />
<br />
Independence Day, LaFaro drove from Newport, RI to<br />
<br />
Geneva, NY, his home town, to visit with friends.<br />
<br />
Wednesday 5 July, LaFaro spent the day swimming at<br />
<br />
the home of Frank Ottley, a close boyhood friend.<br />
That evening Ottley and LaFaro stopped by Cozzie's, a<br />
<br />
popular bar in Geneva operated by the owner,<br />
<br />
Constantino Fospero, bon vivant and raconteur, who<br />
<br />
offered LaFaro and Ottley a taste of his home made<br />
<br />
wine. From Cozzie's, between 7:30 and 8 P.M., Ottley<br />
<br />
telephoned a mutual friend in Warsaw, NY, some 90 miles<br />
<br />
from Geneva, with the invitation to join LaFaro and him in<br />
<br />
Geneva. Unable to break away from a commitment,<br />
<br />
Ottley's friend suggested that both come to Warsaw<br />
<br />
instead.<br />
LaFaro, driving his car, and Ottley, left Geneva between<br />
<br />
8:00 and 8:30 P.M., arriving in Warsaw between 10:00<br />
<br />
and 10:30 P.M. While Ottley was engaged in serious<br />
<br />
conversation with his Warsaw friend, LaFaro listened to<br />
<br />
recorded music and engaged in conversation with fellow<br />
<br />
musician, pianist Gap Mangione, who earlier had come to<br />
<br />
Warsaw from New York, NY because of a break<br />
<br />
between musical jobs. They drank coffee and listened to<br />
<br />
a Chet Baker recording and also one by Bela Bartok, both<br />
<br />
at LaFaro's request.<br />
Sometime after midnight (now 6 July 1961) LaFaro and<br />
<br />
Ottley decided to return to Geneva. Their Warsaw host<br />
<br />
suggested that they stay overnight and rest before<br />
<br />
driving back. Ottley declined the offer, and LaFaro and<br />
<br />
he returned to Geneva. Around 1:45 A.M., LaFaro, while<br />
<br />
driving, evidently fell asleep at the wheel, left the road,<br />
<br />
and hit a tree near Flint, NY, five miles west of Geneva.<br />
<br />
The car, a Chrysler, caught fire, most likely due to a fuel<br />
<br />
system rupture (gas tank, fuel line, etc.). Both LaFaro<br />
<br />
and Ottley died at the scene of the accident.<br />
For a different account of the accident, see Conrad<br />
<br />
Silvert's liner notes to the Bill Evans Spring Leaves<br />
<br />
recording. And also to the Geneva Times newspaper<br />
<br />
account.<br />
The point in belaboring this tragic event is to emphasize<br />
<br />
the Scott LaFaro had not been drinking, was not<br />
<br />
"blasted", nor did he drive his automobile "recklessly".<br />
<br />
He was tired and most likely fell asleep at the wheel,<br />
<br />
went off the roadway, hit a tree, and along with his<br />
<br />
friend, Frank Ottley, died as a result."<br />
<br />
<br />
AWARD WINNER (1957)<br />
<br />
Credits:<br />
Stan Getz (ts)<br />
Lou Levy (p)<br />
Leroy Vinnegar (b)<br />
Stan Levey (d)<br />
<br />
Tracklist:<br />
<br />
01 Where Or When<br />
02 Woodyn' You 7<br />
03 Smiles 4:48<br />
04 Three Little Words<br />
05 Time After Time<br />
06 This Can't Be Love<br />
07 All God's Chillun Got Rhythm<br />
08 But Beautiful<br />
09 Woodyn' You<br />
10 Time After Time<br />
11 All God's Chillun Got Rhythm<br />
12 Time After Time<br />
13 Woodyn' You<br />
<br />
<br />
"Verve deserves high praise for this superb production:<br />
<br />
It is a model of what a re-release should look<br />
<br />
and--especially--sound like. The remastering of the songs<br />
<br />
(from a 1957 Getz quarter, including Leroy Vinnegar on<br />
<br />
bass, Stan Levey on drums, and Lou Levy on piano) is just<br />
<br />
right, neither over polished and cold nor timid. The<br />
<br />
photos, liner notes, commentary and alternate takes all<br />
<br />
enhance the enjoyment of the CD. This is the pre-bossa<br />
<br />
nova Getz, and he's simply magnificentjust here: His<br />
<br />
beautifully resonant sax is smooth and lyrical, as<br />
<br />
expected, but hits the deeper shades of the spectrum as<br />
<br />
well. Excellent accompaniment by all, especially Lou Levy<br />
<br />
on piano. An all-around excellent production; you'll love<br />
<br />
this CD."<br />
<br />
"Sparkling, complex, mostly up-tempo arrangements. This<br />
<br />
late 50's CD sounds a lot like Stan's 80's work. Best<br />
<br />
tunes include "Smiles" (there are smiles that make you<br />
<br />
happy...), "Where or When".Similar to "West Coast Jazz"<br />
<br />
and "The Steamer". Jazz's greatest saxophonist may be<br />
<br />
gone, but his legacy continues to astonish. Stan Levy,<br />
<br />
Getz drummer on this date is quoted as saying "He<br />
<br />
(Stan) had no limits; he could play anything. The horn was<br />
<br />
an extention of his head. There were no barriers, the<br />
<br />
music just came out".So come hear Jazz's most beautiful<br />
<br />
sax sounds come pouring out of him like a bubbling happy<br />
<br />
waterfall. Warm, and up-beat. For best results, listen on<br />
<br />
vacuum tube equipment, as it was originally recorded."<br />
<br />
<br />
AT THE OPERA HOUSE (1957) with J.J JOHNSON<br />
<br />
Creditts:<br />
J.J. Johnson (tb -1/4) Stan Getz (ts) Oscar Peterson (p)<br />
<br />
Herb Ellis (g) Ray Brown (b) Louis Bellson (d)<br />
<br />
Tracklist:<br />
<br />
01 Billie's Bounce<br />
02 My Funny Valentine<br />
03 Crazy Rhythm<br />
04 Blues In The Closet<br />
05 Billie's Bounce<br />
06 My Funny Valentine<br />
07 Crazy Rhythm<br />
08 Yesterdays<br />
09 It Never Entered My Mind<br />
10 Blues In The Closet<br />
<br />
<br />
"I had the pleasure of catching Norman Granz' musical<br />
<br />
circus, Jazz at the Philharmonic, and the segment<br />
<br />
featuring just Stan and J. J. on the front-line was the<br />
<br />
most cohesive set of the night. This CD collects two of<br />
<br />
the concerts from 1957--the first from Chicago's Opera<br />
<br />
House, the second from Los Angeles' Shrine Auditorium.<br />
<br />
As the preceding reviewer notes (apparently as a<br />
<br />
negative), there is some repetition in the repertory.<br />
<br />
Who's complaining? The CD contains 73 minutes of<br />
<br />
playing time, two of the repeats are blues, the<br />
<br />
instrumentalists are equally inspired and fresh on both<br />
<br />
occasions, and the Chicago set is recorded in stereo<br />
<br />
whereas the L. A. set is in mono. (Guess which sounds<br />
<br />
best--and by a wide margin! So much for old notions of<br />
<br />
progress.)<br />
There are so many great trombonists, and with the<br />
<br />
exception of the pro-active Steve Turre and Robin<br />
<br />
Eubanks, none are being recorded or heard from much<br />
<br />
these days. Perhaps the reason is J. J. He's still the<br />
<br />
hippest trombonist who ever lived, with more than enough<br />
<br />
technique, matched with incisive articulations and<br />
<br />
bracing power, to preach a moving sermon every time let<br />
<br />
alone eclipse if not blow away the equally gifted Getz.<br />
<br />
(To be fair, Getz' solo on the Rodgers and Hart ballad<br />
<br />
"It Never Entered My Mind" is the best recorded version<br />
<br />
I've ever heard by an instrumentalist.)<br />
This is the real thing. Jazz in the moment. Most of the<br />
<br />
tunes recorded for the first time by both musicians. In<br />
<br />
the liner notes Phil Schaap makes it sound as though the<br />
<br />
combination of Johnson and Getz was a unique occasion,<br />
<br />
but I have at least two JATP LPs featuring the same pair<br />
<br />
on tunes that aren't part of either of the two concerts<br />
<br />
on this disk.<br />
The house rhythm section on both occasions is Oscar<br />
<br />
Peterson, Ray Brown, and Connie Kay, with Brown's bass<br />
<br />
more audible than was often the case on recordings of<br />
<br />
this period. As for the two peerless principals, besides<br />
<br />
the solos, dig the quick exchanges and collaborative<br />
<br />
polyphony. This is close to being an "essential" recording,<br />
<br />
overdue for a reissue (I wouldn't hold my breath,<br />
<br />
though.)"<br />
<br />
"This record contains seven songs with three alternate<br />
<br />
takes. They are from live recordings in 1957. The sound<br />
<br />
quality is very good, although Oscar Peterson fans will<br />
<br />
not be happy because the piano does not come through<br />
<br />
very clearly. More important, the mixture of tennor sax<br />
<br />
and trombone is outrageous. The Blues numbers have<br />
<br />
great solos that resolve beautifully at the end. The<br />
<br />
up-tempo version of my funny valentine is great. This<br />
<br />
record is a classic as far as I'm concerned."<br />
<br />
"This is a classic album in all means of the phrase. It's<br />
<br />
great from start to finish, all the songs swing with such<br />
<br />
ease and ferocity that it makes the whole album<br />
<br />
wonderful to listen to. If you want to know how to play<br />
<br />
the trombone, study "Yesterdays" it's a case study of<br />
<br />
exactly how the trombone can sound. Both of these<br />
<br />
giants were known for their impeccable tone, so with<br />
<br />
that said this album is a must for an Getz or Johnson<br />
<br />
fan...or if you remotely like jazz." Can Jazz Be Saved?tag:stangetz.ning.com,2009-08-10:2085102:Topic:196622009-08-10T15:48:46.706ZPaul Woodhttp://stangetz.ning.com/profile/PaulWood
•FROM THE WALL STREET JOURNAL<br />
•<br />
• AUGUST 9, 2009, 4:56 P.M. ET<br />
Can Jazz Be Saved?<br />
The audience for America’s great art form is withering away<br />
<br />
By TERRY TEACHOUT<br />
New York<br />
In 1987, Congress passed a joint resolution declaring jazz to be “a rare and valuable national treasure.” Nowadays the music of Louis Armstrong, Duke Ellington, Charlie Parker and Miles Davis is taught in public schools, heard on TV commercials and performed at prestigious venues such as New York’s Lincoln Center, which even…
•FROM THE WALL STREET JOURNAL<br />
•<br />
• AUGUST 9, 2009, 4:56 P.M. ET<br />
Can Jazz Be Saved?<br />
The audience for America’s great art form is withering away<br />
<br />
By TERRY TEACHOUT<br />
New York<br />
In 1987, Congress passed a joint resolution declaring jazz to be “a rare and valuable national treasure.” Nowadays the music of Louis Armstrong, Duke Ellington, Charlie Parker and Miles Davis is taught in public schools, heard on TV commercials and performed at prestigious venues such as New York’s Lincoln Center, which even runs its own nightclub, Dizzy’s Club Coca-Cola.<br />
Here’s the catch: Nobody’s listening.<br />
No, it’s not quite that bad—but it’s no longer possible for head-in-the-sand types to pretend that the great American art form is economically healthy or that its future looks anything other than bleak.<br />
The bad news came from the National Endowment for the Arts’ latest Survey of Public Participation in the Arts, the fourth to be conducted by the NEA (in participation with the U.S. Census Bureau) since 1982. These are the findings that made jazz musicians sit up and take notice:<br />
• In 2002, the year of the last survey, 10.8% of adult Americans attended at least one jazz performance. In 2008, that figure fell to 7.8%.<br />
• Not only is the audience for jazz shrinking, but it’s growing older—fast. The median age of adults in America who attended a live jazz performance in 2008 was 46. In 1982 it was 29.<br />
• Older people are also much less likely to attend jazz performances today than they were a few years ago. The percentage of Americans between the ages of 45 and 54 who attended a live jazz performance in 2008 was 9.8%. In 2002, it was 13.9%. That’s a 30% drop in attendance.<br />
• Even among college-educated adults, the audience for live jazz has shrunk significantly, to 14.9% in 2008 from 19.4% in 1982.<br />
These numbers indicate that the audience for jazz in America is both aging and shrinking at an alarming rate. What I find no less revealing, though, is that the median age of the jazz audience is now comparable to the ages for attendees of live performances of classical music (49 in 2008 vs. 40 in 1982), opera (48 in 2008 vs. 43 in 1982), nonmusical plays (47 in 2008 vs. 39 in 1982) and ballet (46 in 2008 vs. 37 in 1982). In 1982, by contrast, jazz fans were much younger than their high-culture counterparts.<br />
What does this tell us? I suspect it means, among other things, that the average American now sees jazz as a form of high art. Nor should this come as a surprise to anyone, since most of the jazz musicians that I know feel pretty much the same way. They regard themselves as artists, not entertainers, masters of a musical language that is comparable in seriousness to classical music—and just as off-putting to pop-loving listeners who have no more use for Wynton Marsalis than they do for Felix Mendelssohn.<br />
Jazz has changed greatly since the ’30s, when Louis Armstrong, one of the supreme musical geniuses of the 20th century, was also a pop star, a gravel-voiced crooner who made movies with Bing Crosby and Mae West and whose records sold by the truckload to fans who knew nothing about jazz except that Satchmo played and sang it. As late as the early ’50s, jazz was still for the most part a genuinely popular music, a utilitarian, song-based idiom to which ordinary people could dance if they felt like it. But by the ’60s, it had evolved into a challenging concert music whose complexities repelled many of the same youngsters who were falling hard for rock and soul. Yes, John Coltrane’s “A Love Supreme” sold very well for a jazz album in 1965—but most kids preferred “California Girls” and “The Tracks of My Tears,” and still do now that they have kids of their own.<br />
Even if I could, I wouldn’t want to undo the transformation of jazz into a sophisticated art music. But there’s no sense in pretending that it didn’t happen, or that contemporary jazz is capable of appealing to the same kind of mass audience that thrilled to the big bands of the swing era. And it is precisely because jazz is now widely viewed as a high-culture art form that its makers must start to grapple with the same problems of presentation, marketing and audience development as do symphony orchestras, drama companies and art museums—a task that will be made all the more daunting by the fact that jazz is made for the most part by individuals, not established institutions with deep pockets.<br />
No, I don’t know how to get young people to start listening to jazz again. But I do know this: Any symphony orchestra that thinks it can appeal to under-30 listeners by suggesting that they should like Schubert and Stravinsky has already lost the battle. If you’re marketing Schubert and Stravinsky to those listeners, you have no choice but to start from scratch and make the case for the beauty of their music to otherwise intelligent people who simply don’t take it for granted. By the same token, jazz musicians who want to keep their own equally beautiful music alive and well have got to start thinking hard about how to pitch it to young listeners—not next month, not next week, but right now.<br />
—Mr. Teachout, the Journal’s drama critic, writes “Sightings” every other Saturday and blogs about the arts at <a href="http://www.terryteachout.com">www.terryteachout.com</a>. Write to him at tteachout@wsj.com. Quotes from Stan Getztag:stangetz.ning.com,2009-06-10:2085102:Topic:178582009-06-10T01:13:00.519ZDenis Ouellethttp://stangetz.ning.com/profile/DenisOuellet
Stan has been quoted quite a few times. We are lucky he gave out quite a few interviews.<br />
From this we can see first hand his thoughts and views.<br />
<br />
Would like to talk about this one<br />
<br />
“There are four qualities essential to a great jazzman. They are taste, courage, individuality, and irreverence.<br />
These are the qualities I want to retain in my music.”<br />
<br />
I wonder what Stan meant by irreverence. The dictionnary says "lack of respect".<br />
Not sure that's what he really meant to say ? Right ?<br />
<br />
Denis
Stan has been quoted quite a few times. We are lucky he gave out quite a few interviews.<br />
From this we can see first hand his thoughts and views.<br />
<br />
Would like to talk about this one<br />
<br />
“There are four qualities essential to a great jazzman. They are taste, courage, individuality, and irreverence.<br />
These are the qualities I want to retain in my music.”<br />
<br />
I wonder what Stan meant by irreverence. The dictionnary says "lack of respect".<br />
Not sure that's what he really meant to say ? Right ?<br />
<br />
Denis Ballads and Bossas: The lost sessionstag:stangetz.ning.com,2009-04-28:2085102:Topic:166882009-04-28T12:07:05.071ZGARY BLONDhttp://stangetz.ning.com/profile/GARYBLOND
I am interested in finding out more about this recording by Verve 2003 I believe. It has become available at my local library. I can't find reference to it in my latest Penguin Guide. Can anyone offer some detail? Cheers. Gary. Australia
I am interested in finding out more about this recording by Verve 2003 I believe. It has become available at my local library. I can't find reference to it in my latest Penguin Guide. Can anyone offer some detail? Cheers. Gary. Australia Stan Getz playing Tarantella?tag:stangetz.ning.com,2009-02-23:2085102:Topic:143702009-02-23T11:54:00.956ZYveshttp://stangetz.ning.com/profile/Yves
Hi everybody! Great to see a place like this exists!<br />
I have a question to all Stan Getz specialists:<br />
<br />
Does anybody know if Stan Getz has ever played a Tarantella (traditional music from the south of Italy) or used some elements of this music?<br />
Somebody told me he had a record with something like this but doesn't have it anymore.<br />
I tried to find out more on the net but didn't find anything.<br />
<br />
Thanks a lot to anybody who could help me.<br />
<br />
Have a great day.<br />
<br />
Yves
Hi everybody! Great to see a place like this exists!<br />
I have a question to all Stan Getz specialists:<br />
<br />
Does anybody know if Stan Getz has ever played a Tarantella (traditional music from the south of Italy) or used some elements of this music?<br />
Somebody told me he had a record with something like this but doesn't have it anymore.<br />
I tried to find out more on the net but didn't find anything.<br />
<br />
Thanks a lot to anybody who could help me.<br />
<br />
Have a great day.<br />
<br />
Yves Stan Getz Round Midnight Live Belgrad 1974tag:stangetz.ning.com,2009-02-19:2085102:Topic:142432009-02-19T17:10:16.818ZPeterhttp://stangetz.ning.com/profile/Peter59
Does anybody knows something about this illegal DVD
Does anybody knows something about this illegal DVD