Stan Getz Community

Remembering Stan...


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."

HERB ELLIS - Nothing But the Blues (1957)

Herb Ellis Quintet Roy Eldridge (tp) Stan Getz (ts) Herb

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


01 Pap's Blues
02 Big Red's Boogie Woogie
03 Tin Roof Blues
04 Soft Winds
05 Royal Garden Blues
06 Patti Cake
07 Blues For Janet
08 Blues For Junior
09 Les Tricheurs
10 Clo's Blues
11 Phil's Tune
12 Mic's Jump

"Herb Ellis is yet another unsung jazz guitarist. His sides

with Oscar Peterson's legendary group added nuance

and a subtle shade of soul to already perfect

performances. Unfortunately, his often-times subdued

playing meant you almost never really heard him play.

This exceptional 1958 date, his "first" for a major label,

is filled with brilliant playing. And though he doesn't aim

for pyrotechnics, the album contains soft-hued pieces

brimming with quiet soul and just a hint of his Texas

swing roots. The remastering on this reissue is first-rate

and brings the recording's nuances right to the fore.

And for those of you who (like me) fell in love with his

style, there's loads more out there... Ellis deserves a

place of honour along with Grant Green, George Benson,

Wes Montgomery, Charlie Christian, Barney Kessel and

Joe Pass as a genuine genius of jazz guitar. Very easy on

the ears, very relaxed riffing, very eye-opening

performances. A perfect introduction."

""For all his yeoman's duty as Oscar Peterson's guitarist

in the Fifties, and the countless sessions he has

countributed to since, Herb Ellis feels that this

recording is his greatest accomplishment. Flanked by

superior improvisers - a sure sign of confidence - such as

Roy Eldridge and Stan Getz, Ellis lays down eight varied

yet perfect blues tunes (including five originals by him

and bassist Ray Brown). And this CD includes four bonus

tracks played by a Jazz at the Philharmonic All Stars

lineup - including Eldridge, Getz, Dizzy Gillespie, and

Coleman Hawkins."-quoted from back of "Nothing But

The Blues" CD "

"Although Roy Eldridge and Stan Getz are among my

favorite musicians (and Ray Brown is one of the best

modernist and mainstream bass players), the small

problem I have with this CD is that the other musicians

seem to have adapted to Herb Ellis' style - pleasant to

the ears yes, but somewhat lacking in the drive

department. Don't get me wrong - I think these

performances are all at least good and some are even

excellent (particularly the bonus track with Dizzy

Gillespie), but Ellis for me simply does not come across as

a hard enough swinger to carry the weight of the

pianoless rhtyhm section. Subtle arragements and

ballads also fill me with joy but this is not the answer to

my objection. This is mostly the blues and arrangements

are fitting the repertoire well, so there is simply not

enough hard driving swing"


Stan Getz (ts, bars) Gerry Mulligan (bars, ts) Lou Levy

(p) Ray Brown (b) Stan Levey (d)
Los Angeles, CA, October 12, 1957


01 Let's Fall In Love
02 Anything Goes
03 Too Close For Comfort
04 That Old Feeling
05 This Can't Be Love
06 Ballad
07 Scrapple From The Apple
08 I Didn't Know What Time It Was

"Jazz is our delight brother cats. Life is so boring

sometimes that you and I, my jazz friends, deserve to

take a pause and enjoy the marvel of music to lift us up.

You can't find a more delightful listening experience

than this encounter between Getz and Jeru. It is

fantastic believe me. This record is something that when

I turn back to it, it makes me discover again why I love

jazz. It has been one of the first jazz albums I did buy,

something like 15 years ago ... it's still refreshing after

all these years. It is light, funny, swinging, splendid ... it is

simply one of the best examples of Jazz you can find out

there. Jazz the fifties way of course, not that thing

that today some people call jazz that is unbelievably

boring. This is Jazz. And you can't stop to stomp your

feet. You have a fantastic rhythmn section, Stan Levey

and Ray Brown, MEN, so the swing is garanteed =)))))).

Lou Levey played the piano (one of the best in the west

coast movement). Than you have a couple of the best

soloists that EVER graced the history of Jazz music,

Stan Getz and Gerry Mulligan (THE man who plays the

bari, nothing more to add here). The program begins with

the splendid "Let's fall in love" and it's all there. They're

all swingers except for the wonderful tune "A ballad"

which is, of course, a ballad. You evena have a Charlie

Parker number, Scrapple. The joy of swing, a music that

these guys plays perfectly, light as butterflies, deep as

oceans. THEY'RE TRUE MASTER!!! Every tune is a

master interpretations. Than Stan and Jeru change

horns and demonstrate to us (if necessary) how good

thay could play with another type of instrument. It is

simply a perfect album, jazzcats, if you don't own it...


"Stan & Gerry play beautifully on this recording. Their

energy is infectious, their sound is full, and their ideas

are spontaneous and creative. On almost all the cuts

you'll hear Stan & Gerry improvising on the same chorus.

They do it so well you almost don't realize it's happening

unless you really listen. This kind of playing is impossible

without the big ears both these guys had. The rhythm

section is great as well, but the horns are what stand out

in my memory."

ELLA FITZGERALD - Like Someone In Love (1957)

Ella Fitzgerald with Frank De Vol Orchestra Ella

Fitzgerald (v) Stan Getz (ts) Frank De Vol (cnd)

Unknown Orchestra


01 Duplicate - There's A Lull In My Life - Do Not Use

02 More Than You Know 3:17
03 What Will I Tell My Heart 3:31
04 I Never Had A Chance 2:46
05 Close Your Eyes 2:56
06 We'll Be Together Again 3:21
07 Then I'll Be Tired Of You 3:14
08 Like Someone In Love 3:10
09 Midnight Sun 3:58
10 I Thought About You 2:54
11 You're Blase 3:58
12 Night Wind 3:18
13 What's New 3:08
14 Hurry Home 4:41
15 How Long Has This Been Going On? 5:51
16 I'll Never Be The Same 4:26
17 Lost In A Fog 4:02
18 Everything Happens To Me 3:55
19 So Rare 3:34

"my all time favorite album, i play it almost everyday. if

you are comtemplating the purchase of your first ella

fitzgerald cd, this is great place to start. it is beautiful

music that any adult listener can enjoy.a fine collection

of jazz and pop standards sung with incredible beauty. it

must have been a songwriters dream to have ella sing one

of your compositions.she respects the melody and

composers intentions while still improvising with taste

and imagination.while difficult any cuts my favorites are

there's a lull in my life, i tought about you and what's

new. trust me, you will love it."

"There's not too much more to say that hasn't already

been said. This album was originally recorded about 1957

and has Stan Getz guesting on about 4 tracks. Although,

Ella turned out some fine songbooks, this is the only

album (still call them that....since my original was on vinyl)

that I have where she sings strictly ballad standards

with an orchestral background. Her voice was great, the

delivery is smooth and appealing, and the cd is definitely

late night music for relaxing or romancing.If ballads,

Ella, standards, vocals with orchestral backgrounds are

your thing..... any one or in can't go

wrong with this!"

"The best lush Ella Fitzgerald album, orchestrations so

creamy it's fattening to listen to it. For the best of the

acoustic Ella get the duet lps with Ellis Larkins including

her unforgettable ballad reading of "My Heart Belongs

to Daddy". "Like Someone" isn't jazz really, it's velvety

pop. But never just sound for the sake of sound, never

mere surface noise. Ella F. remains supremely intelligent

no matter what the setting is. She was the most versatle

of her peers."




01 I Want To Be Happy
02 Pennies From Heaven
03 Ballad Medley
04 I'm Glad There Is You
05 Tour's End
06 I Was Doing All Right
07 Bronx Blues
08 Three Little Words
09 Detour Ahead
10 Sunday
11 Blues For Herky

Stan Getz and Oscar Peterson were both consummate

performers, comfortable at any tempo, when they met

for this 1957 recording, and they're clearly enjoying one

another's skills on ballads and uptempo tunes alike. The

group is one of the finest editions of Peterson's trios,

with bassist Ray Brown and guitarist Herb Ellis. It's

virtually a machine for quiet swing, and the absence of a

drummer lets Getz's silky sound come to the fore with

all its details intact. For all his fame as a virtuosic

pianist, Peterson is an underrated accompanist. He

complements a soloist with deft fills and unobtrusive

propulsion, and the backgrounds he supplies here are as

subtle as his solos are extroverted. The program is a

good mix of standards and Getz originals, including the

joyous "Tour's End," while the extended ballad medley

could define jazz lyricism. There's also a brief but

infectious version of Ellis's "Detour Ahead," the

guitarist's early and highly successful foray into

songwriting. --Stuart Broomer

"This CD presents a very important collaboration. Stan

Getz may be the most lyrical tenor saxophone player to

have ever graced the face of the earth. Only Lester

Young comes close. Prez modeled his sound on that of

Frankie Trumbauer's C-melody saxophone, and Getz'

model is Prez. Both of them transcend Trumbauer's

syrupy improvisations. Getz' tone and the lyricism it

supports are evident. All of this is for context, of

course. This recording is truly a major musical event. It

was on a par with Lester Young's famous collaborations

with Teddy Wilson and Oscar Peterson. During this 1957

recording session, all of which is on the CD, Peterson's

trio and Getz were more than comfortable with one

another, and their mutual musical respect yielded classic

performances . The cooperation is evident in Getz' solo

on "I Want to Be Happy," a model of precision and lyrical

invention. Peterson's solos are equally impressive; there's

no unnecessary embellishment or decoration, and he

swings powerfully. The long ballad medley--"Bewitched,

Bothered, and Bewildered," "I Don't Know Why, I Just

Do," "How Long Has This Been Going On?", "I Can't Get

Started," and "Polka Dots and Moonbeams"--features

fine solos by Getz and Peterson as well as Herb Ellis on

guitar and Ray Brown on bass. In the interplay between

the trio and Getz in such numbers as Getz' "Bronx Blues."

the quartet sounds like a permanent group. In "Three

Little Words" Ellis sets down a solid rhythm and Peterson

comps behind Getz' opening solo before delivering an

eloquent statement of his own which Getz answers with

equal grace. The Getz-Peterson collaboration is

particularly appealing on Ellis' "Detour Ahead," a prime

instance of their treatment of ballad material. On

"Sunday" Ray Brown's persistent bass and Ellis'

percussive guitar support Getz admirably. The quartet

even approximates a rhythm 'n blues song with Getz'

"Blues for Herky." It's not every day that you hear Herb

Ellis playing blues guitar with Oscar Peterson doing

boogie woogie and Stan Getz blowing like he was in a

jump band. But here it is, and it comes as a surprise

bonus with some really superb jazz."

"I just got this CD, and I love it. Very soothing and

relaxing. The emphasis is definitely on Getz; he plays

over Oscar's piano, so it's more Stan Getz than the

Oscar Peterson Trio. If you're a fan of Getz, you'll love

this album."

"This is hands-down, the best jazz album I've ever

owned. Whether sitting in front of the speakers with

eyes closed, absorbing every note, or using it as

unobtrusive (but swingin') background music while I

work, this album shines. If you're an audio snob who

expects every last KHz of treble to be there, you will be

dissappoined. The audio quality is only on par with a good

cassette tape, but the music more than makes up for it."


Cal Tjader / Stan Getz Sextet:Stan Getz (ts) Cal Tjader

(vib) Eddie Durham (g) Vince Guaraldi (p) Scott LaFaro

(b) Billy Higgins (d)


01 Ginza Samba 10:57
02 I've Grown Accustomed To Her Face 3:57
03 For All We Know 5:42
04 Crow's Nest 8:18
05 Liz-Anne 3:46
06 Big Bear 4:32
07 My Buddy

Sure, it's only 43 minutes long, but what a CD. Getz and

Tjader had long tried to work together and when they

finally did record, their styles melded perfectly. Eddie

Duran is a wonder on guitar. Scott LaFaro, who would

later play bass for Bill Evans' most formiable line up, and

whose life was tragically cut short, shows that even

early in his career, he could hold his own with anyone.

Great music and an important piece to each of these

artist's careers."

"This is a great pairing of talent, as well as of style. Yes,

it leaves you wanting more, but what is here is special. An

extra added treat on this one is the really great guitar

playing of Eddie Duran, whose playing, especially on his

harmony lines with Stan, give this recording added

appeal. What a great player. "Ginza Samba", "Crow's

Nest", and "Liz-Anne" are my favorites, though

everything else shines as brightly."



Chet Baker (tp -2/4) Stan Getz (ts) Jodie Christian (p)

Victor Sproles (b) Marshall Thompson (d)
Robert Jordan & Associates Recorders, Chicago, IL,

February 16, 1958


01 Jordu
02 Medley: Autumn In New York / Embraceable You /

What's New?
03 I'll Remember April
04 Half-Breed Apache

"This session was recorded in 1958 in Chicago and

features Getz, the saxophonist highly influenced by

Lester Young and Chet Baker,the trumpet player

considered a Miles Davis devotee...both are quality

known men and rumour has it they have been at odds

with one another so perhaps what comes as a surprise is

their pairing on this CD (only on 1/2 of the cuts). The

music is also found on a USA release so don't buy this

pricey import...The USA Verve release has great sound

and the tracks are standard fare..I'll Remember

April,Autumn In New York/Embraceable You/What's

New(medley),Jordu and Cherokee(Half Breed

Apache) won't be disappointed and it has it's fine

moments with Getz's longer notes and Baker's sparser

delivery...It runs over 50 minutes and is a worthy

collection fusing West and East in Chicago minus the

Blues but nonetheless nice music and a worthy CD to

have. If the tracks were played more together with 2

men it would have been a sure 5 star..they are

accompanied by piano,drums and bass... "

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