Hi Bev, I found out this picture was taken by Phil Stern and here's the comment: He romanticizes nothing. Even some of his dreamiest, iconic pictures can come with a bubble-bursting back story. So be absolutely sure you want to know it. That sweet photo of Stan Getz and son gracing the cover of 1952's "Stan Getz Plays"? Isn't dad receiving an impromptu kiss? No, Stern says. "He wanted to know, 'Where's the potty?' "... Kind regards, Peter.
I don't know if you know this good video where we can see your father and the major part of the greatest tenor sax like : Coleman Hawkins, Don Byas, Barney Wilen, Guy Lafitte, Stan Getz (ts) and Martial Solal (p), Arvell Shaw (b), J. C. Heard (d) Live Broadcast, Cannes, France, July 13, 1958 . You can see more on the Official Barney Wilen site.
Unfortunatly, I cannot upload this video on your site, so to see it, you will must take the next words (you tube "sentence" and put them in the "YOU TUBE" web site.)
http://www.youtube.com/watch?v=f2i7QbSTLUA
I think you will appreciate, your dad was great, the best !!!
I send to Pascal SAVELON a postcard with the Stan Getz's stamp on. And he write this to me, I translate it for you :
" Hello Gérard,
I am back at home and I have just found your card in my letters box, what enormously pleased me. I like very much the choice of the blue as the dominant color of the stamp.
Thank you very much and I am going to allow to publish your card in "my photos" on this site.
There is a " Concerto for Stan Getz " of Richard Rodney Bennett (English composer), composed him appears at the request of Stan, a little bit before his death. There is a disk (and also a broadcast concert of the BBC) of this interpreted concerto I believe in 1992 by John Harle (saxophonist rather classic)... In my memories(souvenirs) (I had seen the concert on the TV), although John Harle is a good saxophonist, it was difficult to be able to compare him to Stan Getz.
To return to the jazz, there are very good there current tenors influenced by Stan whom I like very much: the American Harry Allen and English Jim Tomlinson (guide and husband of Stacy Kent)."
I would like to know Bev, if you know this " Concerto for Stan Getz" and if you know someone who can upload it on your fantastic web site ?
It'll be great for all the members !
Thanks for all, there's a good friendship between Pascal and I, we did'nt know themselves before but now, we are friends ...because your father made a "link" between us, you know this link which is "Sincerity", there's only reality in his music, you've done a really good job with this site, because this web site is really in his "spirit" ...only truth, friendship and complicity ! GREAT !!!!!! Big hug to you !!!!!!
Bev,
This is what I find about the "Concerto for Stan Getz" :
Stan Getz (1927-90) was an American jazz saxophonist probably best remembered for his 1950s recordings with Dizzy Gillespie and Oscar Peterson.
But his musical interests were evidently not confined to jazz and, during a rehearsal with the Boston Pops Orchestra, he remarked that it was a pity he had no concerto to add to the concert arrangements of Gershwin tunes they were programmed to play. The suggestion that he should (like Benny Goodman before him) consider commissioning one came form the conductor of that particular concert, John Williams, as did the name of the composer most likely to relish the challenge of writing a 'classical' concerto for a jazz performer. For although first and foremost a composer of concert music, Richard Rodney Bennett is famed for the unusually broad scope of his musical interests; he is moreover a gifted performer, and his own keyboard repertoire shows him equally at ease with all twentieth-century musical styles - from jazz to the avant-garde.
So the match seemed ideal: Getz had found a composer whose stylistic sympathies appeared perfectly in tune with his own, and Bennett was offered the services of a performer eager to adapt to the demands of a 'crossover' undertaking of this kind. Indeed, Bennett's enthusiasm for the project was such that he began work as soon as the idea was mooted - long before any mention of a performance date, or even a fee for the commission. In the event there was neither, for Getz's illness meant that practical decisions were deferred, while the progress of the concerto continued unabated.
Despite the sadness occasioned by the death of its dedicatee, Concerto for Stan Gutz is a thoroughly celebratory tribute to the possibilities of using jazz harmonies in conjunction with the composer's own free-flowing serial technique. Surprisingly, this is the first crossover piece Bennett has written. Whereas his own Jazz Calendar (1964) was wholly jazz in idiom, the language of Concerto for Stan Gutz arouse out of a true cross-fertilisation of ideas, it is the successful balancing of contrasted linguistic elements that makes this work the offspring of a purposeful stylistic co-existence rather than some sort of hybrid monster- as were
most of the earliest attempts (by Mátyás Seibet, Don Banks and others) to combine jazz band and symphony orchestra.
In other words, there is no hint of any musical compromise at work here. Scored for tenor saxophone, timpani and stings, the melodic material is tightly organised throughout, quickly becoming associated with rhythmic patterns that make its often intricate development seem pleasingly straightforward and easy to follow: prominent amongst these are generally ''percussive" rat-a-tat motif, a string of ascending or descending triplets, and (with the first entry of the soloist) the beginnings of a generally more sustained idea arising out of the syncopated repetition of a single note.
These three motivic characters intermingle to form the main thematic material of the first movement, holding sway until a sudden drop in dynamics presages an abrupt change of mood: following the hectic and mainly detached articulation of the opening, the gently expressive and mainly legato phrasing of the second subject (introducing by the saxophone) initially masks the fact that it is a mirror image of the same melodic theme. It is not until the eventual return of his second subject (high on the violins and twice as slow) that the saxophone is set free to improvise around the underlying harmony before embarking on a cadenza whose decorations are entirely of the composer' s choosing (although he does offer the less demanding alternative of an undecorated line plus chord symbols).
The second movement, Ellegy, is a song without words in which the several verses of an imaginary lyric are set to the same serene sixteen-bar tune, sometimes freely decorated (it is in this movement that the improvisatory skills or the jazz performer are tested to the full), and always introduced, punctuated and concluded by a brief but passionate string sequence of downward-sliding fourths. Stated first by the saxophone, this tune is repeated intact and unadorned by the strings (violins, then cellos), but are now freely counterpointed by the soloist. An extended and more agitated interlude retrieves the tennote theme from the first movement - rising to a fast-dessolving climax as the elegaic tune returns in octaves on the violins and is moving repeated by the saxophone (at the original pitch but now entirely without decoration), as the movement draws to a hushed close.
It is typical of Bennett that melodic relationships of the kind noted at the outset should pertain not only within movements but from movement to movement throughout a work. So it is here. Just as the opening ten-note theme finds its way into the elegiac slow movement, so the same theme begins to make its presence ever more insistently felt over the course of the waltz-like finale. Moreover, despite the subtle alterations occasioned by this change of metre, from two (in the first movement) to three beats to the bar, several of its original rhythmic features remain recognisably intact - as does the original second-subject theme itself. This reappears in its entirety only towards the close- where it retains its first movement format of two beats to the bar against the prevailing waltz rhythm of the last as if to underline and finally complete the circle of melodic influence from beginning to end of the work as a whole.
Concerto for Stan Getz was completed in November 1990; it lasts about twenty-four minutes.
I intend for 2010 to create an event in homage to Stan! You must know that I've got many possibilities for that due to my job !
I would like to associate you with this project and maybe to make Hilde Hefte come and Pascal SAVELON on "French Riviera" !
Would you be interested to come for this event and first what do you think about this event?
Best regards!
I am very happy that you have received my postcard !
I am so honored by what you said...Thanks so much !
As you see, Virtual ( your web site) give birth to real and friendship, a thing that Stan loved !
I will send you as soon as I can anothers presents, two more stamps ( a big and a small one) for the "future museum" and also a litography of my painting which was the Stan's stamps model !
For the event, all is possible, I know many people very influent ( BONO from the U2 music group is living here ).
Have a nice day!
Big hug to you, my friend!
Gérard
At 12:12pm on September 23, 2009, mattyj1202 said…
Hi Bev,
Hope all's well!
When you have a second, check your inbox - want to see if what I sent went through.
I got your E-mail and you can add what you think is best or all,I just thought it was some very good work by your Dad and know it are hard album to find and thought it should be shared if anyware, here!! The last cuts 9-12 are the one's nobody has, but it is album I come back to all the time it has passion by everyone on the album.....and thanks again Rick
At 2:34pm on September 24, 2009, Lou and Eva said…
Hey Bev, Sending our love to you and the pups. Whew! You really put on one hell of a tan this summer. You look good. A little like a lobster, but good.lol Eva said, please, always wear lots of sun block and a cap or straw hat when exposed to the sun. She learned the hard way after having had surgery for skin cancer 3 years ago. The sun is not our friend anymore! Its amazing you put 76 Albums on Stans Myspace page, plus 95 songs on the player. That sure is a lot of albums. Quincy Jones only has 31 and he practically lives in the studio. Continue the great work. Im sure Dads loving all you've done in keeping his music alive and well. - xoxoxo Hugs to you, Stella and Petey, Eva and Lou
At 4:27pm on September 25, 2009, Joseph Miller said…
Thanks Bev for putting up this wonderful site. The Lotus in the front page is a great symbol for the feeling I always get hearing your father play. The Lotus ... the most beautiful of plants always seems to grow and thrive with great self composure and apparent tranquility in the midst of the muddiest swamp. To make beautiful music in the midst of lifes onslaught is a rare and precious treasure. Thank you again for this very refreshing and inspiring site. Joseph
Hello Joseph,
I agree with you about what you said for the Lotus. The Lotus in the front of your personal page, Bev, makes me thinking of "Serenity", "Silence", "Meditation"....I saw many of them in the magnificent garden of KYOTO ( Japan). I went there, in this marvelous Japan, and now, I Know why Japanese people loved Stan!
This music is very deep, very cool and make people think about who they are..about who we are...his music is an UNIVERSAL Music, his language was "unique" but totally "UNIVERSAL" that is why there are so many people like us loving him ! Gérard
Thank you Joseph & Gerard for such beautiful comments! They gave me a warm heart and big smile this morning.. which I needed! Timing was perfect!
THANK YOU! ((~:
XOXO
Bought this Album my first year of College at Bradley University... was sick with Mono and was confined to classes and to my dorm room with my Focus Album and Jimmy Smiths "The Cat" Album... everyone else was listening to the Beatles and Pop... and I had Pan and Her, I'm Late, I'm Late...Night Rider, Summer Afternoon... and then Jimmy Smith...The Cat playing.... and made a lot of converts. Guys would just drift into my room and sit and listen and then go on about their day... wow..cool... who is that??? Hadn't thought of those days for quite some time... and this song took me immediately... to that room and to my youth and dreams of my youth. Thanks Bev. Her is still one of my all time favorites ...Eddie Sauter along with your Dad... what a rare and fine mix. That your Dad played these songs basically off the top of his head, improvised... is the part that still astounds me. Wow again... I've read in interviews that this was your Dads all time favorite album... certainly one of mine as well... Thank you for the memories.
I met Livio Zanellato and Silvano Manco last week-end in Italy near SAN REMO, like they are very good musicians ( as you can see in the two videos I added in this web site) I ask them to join us in the "Stan Getz community"...what they did...and you will be very pleased to know that they will come for our event "Tribute to Stan Getz" in summer 2010! I think, this is a good thing no...two new members and a similar project, playing together for Stan Getz memory !
Gérard
Bev: Moved out of Florida last week to 37 South Main Street 2nd Floor, Winchester, Kentucky 40391. Will have new tel. # soon and provide it. there are many venues for a club concert I plan - there was one I could not attent by Miles Osland (famous alto sax expert) big band Fri. at Keeneland Race Track for opening of fall events and my girl friend is executive secr. and did it - mine will be at a old private club this winter - honoring Stan and my best friend great pianist Frank W. Wagner, Jr. died last week in Owensboro Ky. Real Estate Dev. - so also honor three others like him I played with in 1950's/ 60's - busy setting up my studio and music in bld. now and please write me your address and I will send you to CD's of mine. Jack
Thank you for accepting me in the Stan Getz Community; I'm really glad of it. I hope we will meet once when you come to Monaco and organize some event in the Michel Daner Theater of Beausoleil or in Bussana Vecchia International Artists Community (Sanremo - Italy). You are my Special Guest anytime...
Un Abbraccio...
I've got a very good news for you !
The Arts commission of Eze-Village, a very nice town between NICE and MONACO is agree to give us the opportunity to create the "TRIBUTE TO STAN GETZ " Concert in their castle !
It will take place in the Botanic Garden of this old castle and in the same time, you will have a painting exposure.
The date for the "TRIBUTE TO STAN GETZ " is : 21th august 2010.
I hope to see you for this event!
Tell me if this is possible!!!
Big hug!
gérard
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Unfortunatly, I cannot upload this video on your site, so to see it, you will must take the next words (you tube "sentence" and put them in the "YOU TUBE" web site.)
http://www.youtube.com/watch?v=f2i7QbSTLUA
I think you will appreciate, your dad was great, the best !!!
Best regards!
Gérard
I send to Pascal SAVELON a postcard with the Stan Getz's stamp on. And he write this to me, I translate it for you :
" Hello Gérard,
I am back at home and I have just found your card in my letters box, what enormously pleased me. I like very much the choice of the blue as the dominant color of the stamp.
Thank you very much and I am going to allow to publish your card in "my photos" on this site.
There is a " Concerto for Stan Getz " of Richard Rodney Bennett (English composer), composed him appears at the request of Stan, a little bit before his death. There is a disk (and also a broadcast concert of the BBC) of this interpreted concerto I believe in 1992 by John Harle (saxophonist rather classic)... In my memories(souvenirs) (I had seen the concert on the TV), although John Harle is a good saxophonist, it was difficult to be able to compare him to Stan Getz.
To return to the jazz, there are very good there current tenors influenced by Stan whom I like very much: the American Harry Allen and English Jim Tomlinson (guide and husband of Stacy Kent)."
I would like to know Bev, if you know this " Concerto for Stan Getz" and if you know someone who can upload it on your fantastic web site ?
It'll be great for all the members !
Thanks for all, there's a good friendship between Pascal and I, we did'nt know themselves before but now, we are friends ...because your father made a "link" between us, you know this link which is "Sincerity", there's only reality in his music, you've done a really good job with this site, because this web site is really in his "spirit" ...only truth, friendship and complicity ! GREAT !!!!!! Big hug to you !!!!!!
Gérard
This is what I find about the "Concerto for Stan Getz" :
Stan Getz (1927-90) was an American jazz saxophonist probably best remembered for his 1950s recordings with Dizzy Gillespie and Oscar Peterson.
But his musical interests were evidently not confined to jazz and, during a rehearsal with the Boston Pops Orchestra, he remarked that it was a pity he had no concerto to add to the concert arrangements of Gershwin tunes they were programmed to play. The suggestion that he should (like Benny Goodman before him) consider commissioning one came form the conductor of that particular concert, John Williams, as did the name of the composer most likely to relish the challenge of writing a 'classical' concerto for a jazz performer. For although first and foremost a composer of concert music, Richard Rodney Bennett is famed for the unusually broad scope of his musical interests; he is moreover a gifted performer, and his own keyboard repertoire shows him equally at ease with all twentieth-century musical styles - from jazz to the avant-garde.
So the match seemed ideal: Getz had found a composer whose stylistic sympathies appeared perfectly in tune with his own, and Bennett was offered the services of a performer eager to adapt to the demands of a 'crossover' undertaking of this kind. Indeed, Bennett's enthusiasm for the project was such that he began work as soon as the idea was mooted - long before any mention of a performance date, or even a fee for the commission. In the event there was neither, for Getz's illness meant that practical decisions were deferred, while the progress of the concerto continued unabated.
Despite the sadness occasioned by the death of its dedicatee, Concerto for Stan Gutz is a thoroughly celebratory tribute to the possibilities of using jazz harmonies in conjunction with the composer's own free-flowing serial technique. Surprisingly, this is the first crossover piece Bennett has written. Whereas his own Jazz Calendar (1964) was wholly jazz in idiom, the language of Concerto for Stan Gutz arouse out of a true cross-fertilisation of ideas, it is the successful balancing of contrasted linguistic elements that makes this work the offspring of a purposeful stylistic co-existence rather than some sort of hybrid monster- as were
most of the earliest attempts (by Mátyás Seibet, Don Banks and others) to combine jazz band and symphony orchestra.
In other words, there is no hint of any musical compromise at work here. Scored for tenor saxophone, timpani and stings, the melodic material is tightly organised throughout, quickly becoming associated with rhythmic patterns that make its often intricate development seem pleasingly straightforward and easy to follow: prominent amongst these are generally ''percussive" rat-a-tat motif, a string of ascending or descending triplets, and (with the first entry of the soloist) the beginnings of a generally more sustained idea arising out of the syncopated repetition of a single note.
These three motivic characters intermingle to form the main thematic material of the first movement, holding sway until a sudden drop in dynamics presages an abrupt change of mood: following the hectic and mainly detached articulation of the opening, the gently expressive and mainly legato phrasing of the second subject (introducing by the saxophone) initially masks the fact that it is a mirror image of the same melodic theme. It is not until the eventual return of his second subject (high on the violins and twice as slow) that the saxophone is set free to improvise around the underlying harmony before embarking on a cadenza whose decorations are entirely of the composer' s choosing (although he does offer the less demanding alternative of an undecorated line plus chord symbols).
The second movement, Ellegy, is a song without words in which the several verses of an imaginary lyric are set to the same serene sixteen-bar tune, sometimes freely decorated (it is in this movement that the improvisatory skills or the jazz performer are tested to the full), and always introduced, punctuated and concluded by a brief but passionate string sequence of downward-sliding fourths. Stated first by the saxophone, this tune is repeated intact and unadorned by the strings (violins, then cellos), but are now freely counterpointed by the soloist. An extended and more agitated interlude retrieves the tennote theme from the first movement - rising to a fast-dessolving climax as the elegaic tune returns in octaves on the violins and is moving repeated by the saxophone (at the original pitch but now entirely without decoration), as the movement draws to a hushed close.
It is typical of Bennett that melodic relationships of the kind noted at the outset should pertain not only within movements but from movement to movement throughout a work. So it is here. Just as the opening ten-note theme finds its way into the elegiac slow movement, so the same theme begins to make its presence ever more insistently felt over the course of the waltz-like finale. Moreover, despite the subtle alterations occasioned by this change of metre, from two (in the first movement) to three beats to the bar, several of its original rhythmic features remain recognisably intact - as does the original second-subject theme itself. This reappears in its entirety only towards the close- where it retains its first movement format of two beats to the bar against the prevailing waltz rhythm of the last as if to underline and finally complete the circle of melodic influence from beginning to end of the work as a whole.
Concerto for Stan Getz was completed in November 1990; it lasts about twenty-four minutes.
I intend for 2010 to create an event in homage to Stan! You must know that I've got many possibilities for that due to my job !
I would like to associate you with this project and maybe to make Hilde Hefte come and Pascal SAVELON on "French Riviera" !
Would you be interested to come for this event and first what do you think about this event?
Best regards!
Gérard
I am very happy that you have received my postcard !
I am so honored by what you said...Thanks so much !
As you see, Virtual ( your web site) give birth to real and friendship, a thing that Stan loved !
I will send you as soon as I can anothers presents, two more stamps ( a big and a small one) for the "future museum" and also a litography of my painting which was the Stan's stamps model !
For the event, all is possible, I know many people very influent ( BONO from the U2 music group is living here ).
Have a nice day!
Big hug to you, my friend!
Gérard
Hope all's well!
When you have a second, check your inbox - want to see if what I sent went through.
Thanks!
Matt
I agree with you about what you said for the Lotus. The Lotus in the front of your personal page, Bev, makes me thinking of "Serenity", "Silence", "Meditation"....I saw many of them in the magnificent garden of KYOTO ( Japan). I went there, in this marvelous Japan, and now, I Know why Japanese people loved Stan!
This music is very deep, very cool and make people think about who they are..about who we are...his music is an UNIVERSAL Music, his language was "unique" but totally "UNIVERSAL" that is why there are so many people like us loving him ! Gérard
THANK YOU! ((~:
XOXO
I met Livio Zanellato and Silvano Manco last week-end in Italy near SAN REMO, like they are very good musicians ( as you can see in the two videos I added in this web site) I ask them to join us in the "Stan Getz community"...what they did...and you will be very pleased to know that they will come for our event "Tribute to Stan Getz" in summer 2010! I think, this is a good thing no...two new members and a similar project, playing together for Stan Getz memory !
Gérard
Thank you for adding this tune: Pennies From Heaven - Stan Getz & Oscar Peterson Trio..I did not know this, it's great!!
Big hug!!
Gérard
Un Abbraccio...
I've got a very good news for you !
The Arts commission of Eze-Village, a very nice town between NICE and MONACO is agree to give us the opportunity to create the "TRIBUTE TO STAN GETZ " Concert in their castle !
It will take place in the Botanic Garden of this old castle and in the same time, you will have a painting exposure.
The date for the "TRIBUTE TO STAN GETZ " is : 21th august 2010.
I hope to see you for this event!
Tell me if this is possible!!!
Big hug!
gérard
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