Stan Getz Community

Remembering Stan...

All the reviews of the Stan Getz albums I've got done so far for my collection!

All The Stan Getz reviews that I've got done from my


Stan Getz Quintet featuring Jimmy Raney The Birdland

Sessions 1952

Jimmy Raney, Horace Silver, Charlie Mingus, Connie Kay,

Duke Jordan, Gene Ramey, Phil Brown


01 Woody'n You
02 Yesterdays
03 The Song is You
04 I Only Have Eyes For You
05 Move06 Long Island Sound
07 'Round Anout Midnight
08 Spotlite
09 Yesterdays
10 Potter's Luck
11 I Can't Get Started
12 Parker 51
13 My Old Flame
14 Move

On this splendid live recording from Birdland from the

spring and summer of 1952 we find Getz in sparkling

form. The mixture is typical of his repertoire of that

period bop originals, bebop variations on well known

tunes 'Long Island Sound' is based on 'Zing Went the

Strings of my Heart', for instance, and ballads. His

sound and general approach seem anything but cool, on

joyful romps through the extended up tempo tracks;

moreover between Getz and guitarist Jimmy Raney there

existed an excellent rapport, and the two men and their

instruments blended well together. It is not surprising

therefore that Raney, with his own quiet and unhurried

approach, was the longest serving member of the Stan

Getz groups of this period. More than an hour of Stan

Getz is always welcome. "


Chet Baker (tp) Stan Getz (ts) Carson Smith (b) Larry

Bunker (d) "The Haig", Hollywood, CA, June 12, 1953

Chet Baker (tp -1) Stan Getz (ts) Russ Freeman (p)

Carson Smith (b) Shelly Manne (d) Tiffany Club without

audience, Los Angeles, CA, August 17, 1954(CD 2 -tracks


CD 1

01 My Funny Valentine
02 Strike Up The Band
03 The Way You Look Tonight
04 Yardbird Suite
05 Yesterdays
06 Winter Wonderland
07 Come Out Wherever You Are
08 Move
09 What's New?
10 Half Nelson
11 Little Willie Leaps
12 Soft Shoe
13 whispering

CD 2

01 Bernie's Tune
02 All The Things You Are
03 Winter Wonderland (take 2)
04 Gone With The Wind
05 All The Things You Are
06 Darn That Dream
07 Crazy Rhythm

"True, Getz' jealousy of Baker's musical talent and

popularity has always been a factor in their musical

relationship. Nowhere is this seen more flagrantly than

on the 3CD Getz/Baker "The Stockholm Concerts"

2/18/83 performances (Verve 537 555-2). This should

not be a factor to discourage a fan of either musician

from purchasing this release. Frequently, the competition

between musicians creates some fantastic creative

improvisation, and that's exactly what "West Coast Live"

documents. Both Getz and Baker are youthful and fluid

in their ideas. Baker's chops are solid, as he has teeth at

this period of his career. The selection of Bop classics

couldn't be more pleasing. I have listened to these disks

close to 100 times, and still hear new content. True,

Getz' ego has always run away with itself when in the

presence of Baker, but that's what keeps both musicians

on their toes. Personally, I do feel Baker was overly

passive and unfairly abused by Getz, but feeling sorry

for him is unnecessary. Baker stands on his own quite

well, and in my opinion, steals the show on these classic

live performances. No wonder Getz' was jealous! "



Dizzy Gillespie (tp) Stan Getz (ts) Oscar Peterson (p)

Herb Ellis (g) Ray Brown (b) Max Roach (d)
Radio Recorders, Hollywood, CA, December 9, 1953


01 It Don't Mean A Thing (If You Ain't Got That Swing)
02 I Let A Song Go Out Of My Heart
03 Exactly Like You
04 It's The Talk Of The Town
05 Impromptu
06 One Alone
07 Girl Of My Dreams
08 Siboney (Part 1)
09 Siboney (Part 2)

"This early meeting between Diz and Getz may be more

satisfying than the duets with Rollins and Stitt, the

meeting with both ("Sonny Side Up"), or the three-way

interaction of Diz, Getz and Stitt on "For Musicians

Only." On this Diz-Getz '54 recording, the presence of

Oscar Peterson is a definite plus, providing the session

with a bit more firepower than the aforementioned

dates. This is relatively early Diz--before the bent

upswept bell--but he's in peak form, and the fidelity

isn't wanting. Getz sounds relaxed and ready to play

Dizzy's own game, even mimicking some of the master

player's licks. (The tone that the saxophonist gets when

he tries to play "hard" has always sounded "roosterish"

to me. Here we get the inimitable "cool" sound of Getz

carrying a man's load.) Some listeners may recoil at a

program (no doubt Granz-inspired) that includes "Girl of

My Dreams" and two parts of Lecuona's "Siboney." I say

good riddance to so much of the current fare that

passes for "original" songwriting. There are also some

listeners who will complain that these Granz Verve

sessions lack the rhythmic thrust of Van Gelder's many

Blue Note dates. The difference is partly due to the

music idiom and its practitioners (these are musicians

more interested in the "language" of bebop than the

"groove" of hard bop) but also to recording engineers.

Van Gelder "enhances" the horns, boosts bass, drums,

and alters the piano sound to a degree than would simply

be unacceptable to an Oscar Peterson. The Blue Notes

have their place, but suffice it say that the musicians on

this more "natural-sounding" Verve recording would be

done a disservice by any tampering with the sound.

Finally, this is relaxed but still stunning Gillespie, even

down to his "funky" solo on the quirky inclusion of a

Gillespie original ("One Alone") that features an entirely

different rhythm section along with tenor saxophonist

Hank Mobley! (Far too little--likely to make any listener

with ears go crazy looking for a complete session

featuring this pair.)"

"This is a classic recording. One that should be heard by

all jazz fans. The ignorant notion that Stan Getz got

wiped out by Dizzy is preposterous. Both musicians play

their hearts out. Of course Dizzy plays great here - he

was at the top of his game. But Stan TOTALLY keeps up

with Diz. One wishes that the producers/engineers

hadn't made Diz play with the cup mute so much. Listen

to Stan's amazing facility, clean articulation, and fleet

fingers on the incredibly up-tempo "Don't Mean A

Thing." Stan also plays beautifully on the ballad "Talk of

the Town". For top musicians like these two, it was all

about furthering the music. The game of "who won the

jazz boxing match" is left to half informed

non-musicians who don't know how difficult it is to play

on the level of these two superb gentlemen."

"Excellent record, among Diz's finest outings on Verve.

The song selection is classic and leaves plenty of blowing

room, the best workout being the Ellington tune "It

Don't Mean a Thing...", in which Diz lights a fire so hot it

seems like the rest of the band is playing out of sheer

terror. On this track you'll hear what may well be Getz's

most frenetic solo, along with one of Oscar Peterson's

best. But there are a number of ballads as well, more

conducive to Getz's cool, cooing tone, to relax things a

bit.In the liner notes OP recounts how Diz came into this

session wanting "a piece of Stan Getz, bad... he wanted

to take advantage of someone, and i decided it wasn't

going to be me." Diz again succeeds in drawing incredible

performances out of his band, getting them to play

beyond themselves. Top shelf stuff.Also, if you like this

one, get "Sonny Side of the Street" with Diz, Sony

Rollins and Sonny Stitt. It's another case of the

bandleader challenging his band, and evoking incredible



Bob Brookmeyer (vtb) Stan Getz (ts) John Williams (p)

Bill Anthony (b) Art Mardigan (d)
"Shrine Auditorium", Los Angeles, CA, November 8, 1954


01 Flamingo [Live]
02 Lover Man [Live]
03 Pernod [Live]
04 Tasty Pudding [Live]
05 I'll Remember April [Live]
06 Polka Dots and Moonbeams [Live]
07 Open Country
08 It Don't Mean a Thing (If It Ain't Got That Swing)

09 We'll Be Together Again
10 Feather Merchant

"This was 1954 Stan Getz in concert, live, Stan's tenor

voice, my first album ever, I still have it, the original LP,

and 2 CDs, 1 spare and 1 for me to carry around. Stan

Getz at his finest, melodic ballads but also fast tempos

with an amazing piano player called John Williams. This is

all from memory, I do not need to see the album, I have

all the solos in my head. Bob Brookmeyer is on valve

trombone, he uses a strong depth of imagination.

Wonderful. I sought him out some years ago in Toronto

for a brief friendly chat from my side. Mostly I wander

up to musicians casually, they always appreciate sincere

compliments, but in Brookmeyer's case I was

complimentary and respectful. Deservedly so... he was a

leading member of the Quintet for Stan Getz at the

Shrine. I think today this is an overlooked album but I

promote it strongly to my friends and play it frequently.

Drummers are Art Mardigan and Frank Isola, bass Bill

Anthony. Listen first to Feather Merchant, this was done

outside the concert in a studio but personnel is same. Is

this not one of the best jazz things you have ever heard?

I love it (I have 600 CDs some classical but mainly

modern jazz, I have every album by Stan Getz) When you

listen, take in also Al Cohen's composition Tasty Pudding

for a real melodic treat, and the unforgettable

Loverman, that was the first time I heard the song. Oh,

and I have to tell you, there is a heckler in the audience

at the Shrine, yes the dialogue is all there with the

introduction and voice of Duke Ellington for Stan Getz

being one of the leading exponents of the Cool

School...Anyway Stan puts down the heckler, I won't tell

you what he said but everyone laughs, it is very

interesting to hear Stan's young voice, so tender... and

then Getz says something which bound me to him forever

"It's so quiet up here, you can feel your

hearbeat...clearly" Here was a cool sounding

tenorsaxman, at the top of his form... inventive,

beautiful, a man and his music, he was my Man.. There

was nobody else on tenor at the time. Brookmeyer was

excellent too, I mean he was the best, you should also

listen closely to the pianist. Wow, what an album!!! You

buy, you will thank me..."

"In the early 50's Norm Granz, owner of Verve, tried to

get Jazz out of small smokey clubs and into large venues.

Hence his "Jazz at the Philharmonic" series, pairing

together on stage practically everybody in Jazz and

everyone else . Results were generally mediocre, but a lot

more people DID hear combo Jazz, which was progress.
In this case, a young Stan the Man, the greatest

saxophonist of all time, shared the spotlight with Bob

Brookmeyer on valve trumbone. They played together off

and on for years, one of the few other performers Stan

genuinely respected, instead of treating as background.

They play in a similar tone and range. Getz suggested in

Downbeat that Brookmeyer be in the Stan Getz band,

but Brookmeyer objected and Getz backed off and said

this was wishful thinking.
Herein they play complex bebop duet and ballads.

Pleasant melded tone, clever without ever being in your

face, it's the best of the Norm Granz pairings. Getz's

sax and Brookmeyer's valve trombone dance around each

other in intricate arabesque arrangements. Most of the

rest of Getz other albums are solos with combo

accompanyment, or with Chet Baker, when everyone gets

a turn, true duets like this were quite unusual for Stan.
Samples don't do justice to the music, selections should

have started with the music, not the talk."


Conte Candoli (tp) Stan Getz (ts) Lou Levy (p) Leroy

Vinnegar (b) Shelly Manne (d)


01 East Of The Sun (And West Of The Moon)
02 Four
03 Suddenly It's Spring
04 Night In Tunisia
05 Summertime
06 S-h-i-n-e
07 Split Kick
08 Of Thee I Sing
09 A Handful Of Stars
10 Love Is Here To Stay
11 Serenade In Blue
12 Of Thee I Sing
13 Love Is Here To Stay

"Before he became a household name as the frontman

for the Bossa Nova craze of the early 1960s, Stan Getz

was one of the leading tenor saxophonists of the 1950s.

In August 1955, Getz recorded "West Coast Jazz" in Los

Angeles with four other relocated Easterners --

trumpeter Conte Candoli, pianist Lou Levy, bassist Leroy

Vinnegar and drummer Shelly Manne. Despite the fact

that this was not your typical "West Coast" session --

the playing was anything but cool or syrupy smooth --

these musicians, along with the Clifford Brown-Max

Roach Group, would become synonymous with a harder

L.A. bop sound that would become the new left coast

standard. "West Coast Jazz" features great versions of

Miles Davis' "Four," Dizzy Gillespie's "A Night in Tunisia"

and Gershwin's "Summertime" among other cuts. This

remastered Verve disc also boasts five songs not

included on the original LP issue, two alternate takes,

and a sumptuous gatefold digipak with extensive liner

notes. For anyone who loves Getz albums like "The

Steamer" or "Award Winner," or Shelly Manne's "At The

Blackhawk" volumes, "West Coast Jazz" is where this

sound all started."

"I've shied away from Stan Getz in the past because

I've always associated him with bossa nova, and I get no

listening pleasure from that style whatsoever. So it was

by sheer luck, and my good fortune, that I was driving

around a few months ago without a CD, searching

through the radio looking for something good. I stopped

when I heard some swinging jazz coming through a

station. Not big band swing, but more of a smooth and

smoky sound, straddling the line between bop and swing

without being precisely one or the other. At the end of

the track, I was quite surprised to hear the announcer

tell me that that was from Stan Getz's "The Steamer".

When I got home, I hopped online and sampled more

tracks from that album. Good stuff - so I went out and

bought the whole album, and have been loving it ever

since. "The Steamer" was good enough that I knew it

wouldn't be the last Getz I'd get. After that, I read up

a little more on Getz, and discovered that there was a lot

more to him than The Girl From Ipanema. Since I had to

go to Tower to exchange an unwanted DVD gift, I went

thumbing through the racks to see if anything jumped

out at me. His "West Coast Jazz" caught my eye, since it

was mid 50's pre-bossa nova, and a full CD of over 70

minutes. Plus, it had covers of Miles Davis's Four, Dizzie

Gillespie's A Night In Tunisia, and Horace Silver's Split

Kick. Seemed like a no-brainer. Where have I been? Why

has this sax tone been hiding from me? What I heard on

"The Steamer" continues here. Sweet without being

cloyingly so, cool without sounding pretentious. The

trumpet on its own it's not that harsh, but Getz's tenor

sax is so smooth that when the trumpet comes in, the

contrast is that much more evident in its sharpness. Pick

your favorite cliche - baby's bottom, silk, satin - Getz is

smoother than all of 'em. And the rest of the band who

fills out the quintet is absolutely perfect. It's Conte

Candoli's trumpet and Lou Levy's piano that are the

other prominent instruments here, with the bass and

drums holding down the rhythm with consummate

professionalism. I don't listen to the Woody Harman

Band (maybe I should), but that band's members who

appear behind Getz support him perfectly. Nobody's

stepping on anybody's toes. With more than half of the

songs over six minutes there's plenty of time for

charismatic phrasing all around. No need to go song by

song; I've only gone through this a few times, but every

track can stand on its own. I've already loaded this into

my computer at work so I won't be without it. The only

thing that would make this more complete would be if it

were sold with a martini with two olives."


Stan Getz Quartet / Lionel Hampton Stan Getz (ts)

Lionel Hampton (vib) Lou Levy (p) Leroy Vinnegar (b)

Shelly Manne (d)


01 Cherokee
02 Ballad Medley
03 Louise
04 Jumpin At The Woodside S
05 Gladys
06 Gladys
07 Headache

"Norman Granz (Verve founder and JATP Producer)

must have been like a kid in a candy store in the 1950's

when he was planning which all-stars to pair in various

recordings and tours. His stable included a virtual who's

who of big band legends and jazz up-and-comers and this

session represents exactly that kind of pairing. You have

Lionel Hampton on vibes, swing band icon who also

became famous with the Benny Goodman small groups

and Stan Getz on tenor who, at the time of this

recording wasn't all that far removed from his seat in

the famous "Four Brothers" sax section of Woody

Herman. Backed by the quintessential west coast rhythm

section of Levy, Vinnegar and swings!"

"Both Stan Getz and Lionel Hampton were in Hollywood

appearing in the movie "The Benny Goodman Story" when

they took some time off to record these sides for

Norman Granz's Verve label. (Hamp was even busier:

later on that day [8/1/55] he would cut an album for

Granz with Art Tatum and Buddy Rich, and the next day

he'd bring his big band into the studios to cut yet

another LP). Both men are in fine form and work well

together. CHEROKEE, taken up-tempo, has an especially

fine solo by Hamp. The other scorcher on the album,

JUMPIN' AT THE WOODSIDE, has a good solo by

pianist Lou Levy and some uncharacteristic honking by

Stan (Getz plays more of an outline of a solo on this

number, hitting in spots only the major note in each

chord, rather than filling it out). On the slower numbers

Getz is very breathy - you can hear the air escaping from

the vibrating reed. GLADYSE is a handsome blues by

Hamp (named after his wife) and we get two takes here:

the issued take is taken a bit faster than the alternate,

and during the exchange of choruses in the alternate

Hamp loses count and hits a clam. There's an unknown

trombone player added on HEADACHE (conjecture says

it might be Willie Ruff), but he's very much in the

background. HAMP AND GETZ is a wonderful success

and is very easy to take. This is what mainstream jazz at

it's finest is all about."



Dizzy Gillespie Stan Getz Sextet :Dizzy Gillespie (tp)

Sonny Stitt (as) Stan Getz (ts) John Lewis (p) Herb Ellis

(g) Ray Brown (b) Stan Levey (d)


01 Bebop
02 Dark Eyes
03 Wee (Allen's Alley)
04 Lover Come Back To Me
05 Dark Eyes

The modern jazz revolution which came to be known as

bebop was distinguished by a level of melodic-harmonic

complexity and rhythmic brinkmanship which required

the most elevated levels of instrumental virtuosity

imaginable. As if to drive the point home, composers such

as trumpeter Dizzy Gillespie crafted certain tunes to

function as musical obstacle courses, which quickly

separated the men from boys--without mercy. Such is

the premise on For Musicians Only, save that with a

driving rhythm section keyed by bassist supreme Ray

Brown, and saxophone masters Stan Getz and Sonny

Stitt on board as the other horns, there is no shortage

of musical fiber. Brisk tempos and challenging chord

changes are the order of the day, with Gillespie's

anthemic "Bebop" setting a daunting standard. The

trumpeter is in peak form here and on a riveting "Lover

Come Back to Me," articulating breathtaking runs and

high-wire rhythmic variations with all the fluidity of a

saxophone, but with a tart, crackling tone all his own.

Stitt, as is wont, plays with incredible speed and

rhythmic articulation, and anyone who visualizes Getz as

no more than the arbiter of cool tenor, should take note

of this sheep in wolf's clothing's relentless melodic

intensity on "Wee (Allen's Alley)." --Chip Stern

"The story behind this from my Dad's (Stan Levey) point

of view is that everything was done in one take no 2nd

takes no over dubbing. He had spent the whole day

recording for TV, Mission Imposible Mannix etc. so he

thought a date with Stan Getz this should be pretty laid

back. Well nothing could be further from the truth he

said "The count offs were breath taking but once they

got thru BeBop everything settled down" his favorite was

Wee Allen's Alley. It was virtually a live real Bebop

session, nothing worked out, just play by the seat of

your pants or get off the bandstand. Like it or not that

was the way it was with Bird and those cats, the real

thing no pretense"

"I love, love, love this album. You can feel an incredible

energy coming out of this record. Bebop was a serious

music business in those days. If you were a jazz musician

then you should be able to play with these monsters at

the breakneck speed presented here. And I think it

could sounded scaring ... Today you can't find in a

thousands jazz records the same energy, the same

stunning musicianship you can find here in this 58 date.

Previous reviewers stated some very true things about

this album. Among them the fact that at that time

computer didn't exist. This is what happened in the

studio, first take. No overdubs, no clearings in the mix.

This is it. They play at this level. They practiced

incredibly hard to gain this level and we should be

grateful they did because listening to them is an

unbelievable music experience. Second that the John

Lewis rhythmn section is almost a neutral ground on

which the soloists can be the most clearly visible. The

combo did a stellar job in my opinion as a constant

coherent base for the soloists and Stan Levey played

here as one of the greatest drummers in Jazz. The three

soloists are at the top of their game and I can't

understand why some people tend to forget that Getz is

another unbelievable technician. Maybe these guys have

never had the opportunity to listen to "At storyville".

Getz was not a "light feather" or a delicate player (not

ONLY I mean...). He was a monster musician just as Stitt

or Diz himself. Probably Diz here is the greatest, but it's

not an easy task chosing who gave his very best among

those three here. (.... personally I'm completly in love with

Diz sense of drama and irony, he was, UNBELIEVABLE!!).

Among the tunes I choose Bebop and Wee as the best

here. Maybe Bebop first. It really is a perfect statement

of what the new music was about. Try to imagine that

prior to bebop, Jazz was that thing used as ballroom

music. Music to shake bottoms! Here we are in front of

pure intellectualism and musical refinement of the

highest grade. The difference at that time surely scared

more than one jazz aficionado. The sonic magma you are

about to experience is something that can change your

idea about jazz forever. Jazz unaware people generally

tend to associate jazz with brushes and romantic ballads

with singers. Give'em this fist in their faces and let 'em

understand how serious, stellar and challenging Jazz can

be. Listening to this album is always an incredible

pleasure and it is one of the albums I bought first when

I began to go deep into Jazz more than 20 years ago.

This album should be entitled "For hipsters" or "For

serious jazz listeners only" not for moldy figs. It's

absolutly a masterpiece of the music of the past century.


ANITA O'DAY - Pick Yourself Up with Anita O'Day


Anita O'Day / Buddy Bregman Orchestra Anita O'Day

(v) Pete Candoli, Conte Candoli (tp) Frank Rosolino (tb)

Bud Shank (as) Stan Getz (ts) Jimmy Giuffre (bars)

Barney Kessel (g) Paul Smith (p) Joe Mondragon (b) Alvin

Stoller (d) Buddy Bregman (cnd, arr)December 20, 1956,

Capitol Studios, Los Angeles CA


01 Don't Be That Way 2:35
02 Let's Face The Music And Dance 3:19
03 I Never Had A Chance 4:25
04 Stompin At The Savoy 3:21
05 Pick Yourself Up 3:08
06 Stars Fell On Alabama 2:54
07 Sweet Georgia Brown 4:16
08 I Won't Dance 3:29
09 Man With The Horn 3:59
10 I Used To Be Color Blind 3:12
11 There's A Lull In My Life 3:20
12 Let's Begin 2:25
13 I'm With You 2:06
14 The Rock And Roll Waltz 2:47
15 The Getaway And The Chase 2:28
16 Your Picture's Hanging Crooked On The Wall 2:31
17 We Laughed At Love 3:11
18 I'm Not Lonely 3:05
19 Let's Face The Music And Dance 3:17
20 Ivy 2:48
21 Stars Fell On Alabama

"It's a solid gas (if you can imagine such a state) to

bump into this album again! I owned it on vinyl when it

came out around 1960, and lost it to a jazz drummer on

Mountain Drive in Santa Barbara. He also copped my girl

friend, but that's another story. I almost played the

grooves off that platter while I had it, and can pretty

much remember the whole thing still. Very glad to find it

again, and to recommend it to you."

"This is my all time favorite Anita O'day Album. Anita

O'day is five steps beyond amazing. Her vocal style

can't be beat. Every song she sings gets the special

O'day treatment and is forever more her own. The track

listing of this album is just chocked full of winners! My

favorite is Anita's rendition of 'Stars Fell On Alabama'.

Its beautiful and moving. You can just feel the magic of

the moment she is describing. Other super hits include

the slinky 'Sweet Georgia Brown', the peppy 'Pick

Yourself Up' and the bittersweet 'There's A Lull In My

Life'. Also, this Cd gives you alternative takes on songs

and the rockin bonus tracks 'Getaway and The Chase'

and the classic 'Rock and Roll Waltz'. This is one of the

records I play when I want to get into a good mood. It

always makes me smile. Bottom line, Its a FANTASTIC

album at a SUPER price. Don't miss it!"

"Anita O'Day is one of the greatest jazz singers to

emerge from the 40's, and was and is the best bebop

singer from the 50's till present. This re-issue of the lp

PICK YOUSELF UP WITH ANITA is one of her best lp's

and is highly reccomended as are all of her verves.



Stan Getz (ts) Lou Levy (p) Leroy Vinnegar (b) Stan

Levey (d)
Radio Recorders, Hollywood, CA, November 24, 1956


01 Blues For Mary Jane
02 There Will Never Be Another You
03 You're Blase
04 Too Close For Comfort
05 Like Someone In Love
06 How About You?
07 How About You?
08 There Will Never Be Another You
09 You're Blase
10 Like Someone In Love
11 How About You?

"On this highly enjoyable record, wonderful music is

played by Stan Getz and who in turn is very capably

supported by the rhythm section of Lou Levy (piano),

Leroy Vinnegar (bass) and the late great Stan Levey on

drums. The inter action between this quartet is very

sensitive as the respect for each other is clearly

demonstrated through out this date. The pace of this

record is mostly foot tapping stuff as the majority of

numbers are up tempo. Stan's saxophone really steams

along on these numbers with an exquisite tone. Getz

always possessed a unique tone that was instantly

identifiable as his. No wonder he was referred to as

"The Sound". A special mention must be made for "You're

Blase", the only real ballad on the record. I repeat what

is stated in the linear notes that "new depths of lyricism

can be heard on this beautiful track. There's a

wonderful yearning quality in Getz's playing". Another

bonus is the recording quality which is first class"

"This 'Steamer' smells like roses! The musical layers pile

on slowly. It keeps coming back to 'How about you'. As

the mood builds, you can feel the internal pressure build

until the final explosion.This reminds me a little of

'Turtle Head' in 'Sticking Out'. It's theme is a series of

runs up and down the emotional gamut.You can't go

wrong with this one! It's a heap of fun. Nothing corny


"Stan Getz was given the name "Stanley the Steamer" by

Oscar Peterson because his music "cooked" or

"steamed".Mostly upbeat swing tempos, this cd is a lot

like "West Coast Jazz". Good, solid performance, Stan

and the guys stretch out a bit longer these more complex

arrangements than he usually recorded during this

period.Happy and upbeat, warm and sunny. Not many


TUNE UP (1956/1961) with MILES DAVIS

John Lewis, Milt Jackson, Scott LaFaro and special

guest Lester Young.
Tracks 1- 4 recorded 12 November 1956 in West

Germany; tracks 5 - 7 recorded Sunday 2 July 1961 at

the Newport [Rhode Island] Jazz Festival.


01 How High the Moon
02 Lester Leaps In
03 Tune-Up
04 What's New?
05 Baubles, Bangles and Beads
06 Where Do You Go?
07 Airegin

"This recording was made Monday 3 July 1961, eight

days following the Sunday at the Village Vanguard

recording of the Bill Evans Trio. Tuesday 4 July,

Independence Day, LaFaro drove from Newport, RI to

Geneva, NY, his home town, to visit with friends.

Wednesday 5 July, LaFaro spent the day swimming at

the home of Frank Ottley, a close boyhood friend.
That evening Ottley and LaFaro stopped by Cozzie's, a

popular bar in Geneva operated by the owner,

Constantino Fospero, bon vivant and raconteur, who

offered LaFaro and Ottley a taste of his home made

wine. From Cozzie's, between 7:30 and 8 P.M., Ottley

telephoned a mutual friend in Warsaw, NY, some 90 miles

from Geneva, with the invitation to join LaFaro and him in

Geneva. Unable to break away from a commitment,

Ottley's friend suggested that both come to Warsaw

LaFaro, driving his car, and Ottley, left Geneva between

8:00 and 8:30 P.M., arriving in Warsaw between 10:00

and 10:30 P.M. While Ottley was engaged in serious

conversation with his Warsaw friend, LaFaro listened to

recorded music and engaged in conversation with fellow

musician, pianist Gap Mangione, who earlier had come to

Warsaw from New York, NY because of a break

between musical jobs. They drank coffee and listened to

a Chet Baker recording and also one by Bela Bartok, both

at LaFaro's request.
Sometime after midnight (now 6 July 1961) LaFaro and

Ottley decided to return to Geneva. Their Warsaw host

suggested that they stay overnight and rest before

driving back. Ottley declined the offer, and LaFaro and

he returned to Geneva. Around 1:45 A.M., LaFaro, while

driving, evidently fell asleep at the wheel, left the road,

and hit a tree near Flint, NY, five miles west of Geneva.

The car, a Chrysler, caught fire, most likely due to a fuel

system rupture (gas tank, fuel line, etc.). Both LaFaro

and Ottley died at the scene of the accident.
For a different account of the accident, see Conrad

Silvert's liner notes to the Bill Evans Spring Leaves

recording. And also to the Geneva Times newspaper

The point in belaboring this tragic event is to emphasize

the Scott LaFaro had not been drinking, was not

"blasted", nor did he drive his automobile "recklessly".

He was tired and most likely fell asleep at the wheel,

went off the roadway, hit a tree, and along with his

friend, Frank Ottley, died as a result."


Stan Getz (ts)
Lou Levy (p)
Leroy Vinnegar (b)
Stan Levey (d)


01 Where Or When
02 Woodyn' You 7
03 Smiles 4:48
04 Three Little Words
05 Time After Time
06 This Can't Be Love
07 All God's Chillun Got Rhythm
08 But Beautiful
09 Woodyn' You
10 Time After Time
11 All God's Chillun Got Rhythm
12 Time After Time
13 Woodyn' You

"Verve deserves high praise for this superb production:

It is a model of what a re-release should look

and--especially--sound like. The remastering of the songs

(from a 1957 Getz quarter, including Leroy Vinnegar on

bass, Stan Levey on drums, and Lou Levy on piano) is just

right, neither over polished and cold nor timid. The

photos, liner notes, commentary and alternate takes all

enhance the enjoyment of the CD. This is the pre-bossa

nova Getz, and he's simply magnificentjust here: His

beautifully resonant sax is smooth and lyrical, as

expected, but hits the deeper shades of the spectrum as

well. Excellent accompaniment by all, especially Lou Levy

on piano. An all-around excellent production; you'll love

this CD."

"Sparkling, complex, mostly up-tempo arrangements. This

late 50's CD sounds a lot like Stan's 80's work. Best

tunes include "Smiles" (there are smiles that make you

happy...), "Where or When".Similar to "West Coast Jazz"

and "The Steamer". Jazz's greatest saxophonist may be

gone, but his legacy continues to astonish. Stan Levy,

Getz drummer on this date is quoted as saying "He

(Stan) had no limits; he could play anything. The horn was

an extention of his head. There were no barriers, the

music just came out".So come hear Jazz's most beautiful

sax sounds come pouring out of him like a bubbling happy

waterfall. Warm, and up-beat. For best results, listen on

vacuum tube equipment, as it was originally recorded."


J.J. Johnson (tb -1/4) Stan Getz (ts) Oscar Peterson (p)

Herb Ellis (g) Ray Brown (b) Louis Bellson (d)


01 Billie's Bounce
02 My Funny Valentine
03 Crazy Rhythm
04 Blues In The Closet
05 Billie's Bounce
06 My Funny Valentine
07 Crazy Rhythm
08 Yesterdays
09 It Never Entered My Mind
10 Blues In The Closet

"I had the pleasure of catching Norman Granz' musical

circus, Jazz at the Philharmonic, and the segment

featuring just Stan and J. J. on the front-line was the

most cohesive set of the night. This CD collects two of

the concerts from 1957--the first from Chicago's Opera

House, the second from Los Angeles' Shrine Auditorium.

As the preceding reviewer notes (apparently as a

negative), there is some repetition in the repertory.

Who's complaining? The CD contains 73 minutes of

playing time, two of the repeats are blues, the

instrumentalists are equally inspired and fresh on both

occasions, and the Chicago set is recorded in stereo

whereas the L. A. set is in mono. (Guess which sounds

best--and by a wide margin! So much for old notions of

There are so many great trombonists, and with the

exception of the pro-active Steve Turre and Robin

Eubanks, none are being recorded or heard from much

these days. Perhaps the reason is J. J. He's still the

hippest trombonist who ever lived, with more than enough

technique, matched with incisive articulations and

bracing power, to preach a moving sermon every time let

alone eclipse if not blow away the equally gifted Getz.

(To be fair, Getz' solo on the Rodgers and Hart ballad

"It Never Entered My Mind" is the best recorded version

I've ever heard by an instrumentalist.)
This is the real thing. Jazz in the moment. Most of the

tunes recorded for the first time by both musicians. In

the liner notes Phil Schaap makes it sound as though the

combination of Johnson and Getz was a unique occasion,

but I have at least two JATP LPs featuring the same pair

on tunes that aren't part of either of the two concerts

on this disk.
The house rhythm section on both occasions is Oscar

Peterson, Ray Brown, and Connie Kay, with Brown's bass

more audible than was often the case on recordings of

this period. As for the two peerless principals, besides

the solos, dig the quick exchanges and collaborative

polyphony. This is close to being an "essential" recording,

overdue for a reissue (I wouldn't hold my breath,


"This record contains seven songs with three alternate

takes. They are from live recordings in 1957. The sound

quality is very good, although Oscar Peterson fans will

not be happy because the piano does not come through

very clearly. More important, the mixture of tennor sax

and trombone is outrageous. The Blues numbers have

great solos that resolve beautifully at the end. The

up-tempo version of my funny valentine is great. This

record is a classic as far as I'm concerned."

"This is a classic album in all means of the phrase. It's

great from start to finish, all the songs swing with such

ease and ferocity that it makes the whole album

wonderful to listen to. If you want to know how to play

the trombone, study "Yesterdays" it's a case study of

exactly how the trombone can sound. Both of these

giants were known for their impeccable tone, so with

that said this album is a must for an Getz or Johnson

fan...or if you remotely like jazz."

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