STAN GETZ Part 1. in the 50's
Bop, Hard Bop,Post Bop,Cool Jazz,Latin Jazz,Bossa Nova,Smooth Jazz,Contemporary Jazz, Big Band
(it's depend on the albums and/or the period of his life)
THE BROTHERS (1949) with ZOOT SIMS
Stan Getz, Zoot Sims, Al Cohn, Allen Eager, Brew Moore (tenor saxophone); Kai Winding (trombone); Walter Bishop, George Wallington (piano); Gene Ramey, Percy Heath (bass); Charlie Perry, Art Blakey (drums).
Recorded on April 8, 1949 and September 8, 1952.Digitally remastered by Joe Tarantino (Fantasy Studios, Berkeley, California)
01 Five Brothers
02 Five Brothers
03 Battle Of The Saxes
06 Four And One Moore
07 Four And One Moore
08 The Red Door
11 Morning Fun
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"Brothers" was a generic term, particularly for the tenor saxophonists (Getz, Sims, Al Cohn, Herbie Steward) who had played "Four Brothers" in Woody Herman's band during the 1947-49 period, and generally for any of the young white tenor saxophonists of the Lester Young persuasion, i.e., Allen Eager and Brew Moore. The five-tenor date was a one-of-a-kind landmark session (Getz with Sims, Cohn, Eager, and Moore); the Sims and Cohn with Kai Winding date predicted the two-tenor group Zoot and Al would lead from 1957
"A classic Prestige LP that compiles earlier sides by Getz -- four tunes from a 1949 session recorded under Stan Getz & His Four Brothers, with Zoot Sims, Al Cohn, Allen Eager, and Brew Moore -- all blowing with Getz in a real "brothers-like" sax section sound. The remaining 4 tracks feature Stan and Al Cohn, working in a 1952 session with Geroge Wallington and Kai Winding -- on some nice light boppish tracks that have that sweet smooth Getz tone firmly in place. The album's got a great Don Martin cover, and titles include "Battleground", "Five Brothers", "Four & One More", "Red Door", and "Zootcase"."
BILLIE HOLIDAY - Billie Holiday at Storyville (1951)
Stan Getz / Billie Holiday Billie Holiday (v) Stan Getz (ts) Buster Harding (p) John Fields (b) Marquis Foster (d)
01 You're Driving Me Crazy
02 Lover Come Back To Me
03 Ain't Nobody's Bizz-Ness If I Do
04 He's Funny That Way
05 Billie's Blues
06 Miss Brown To You
07 Detour Ahead
08 Starnge Fruit
09 Aint Nobody Bizz-Ness If I Do
10 All Of Me 11 I Love You Porgy
12 Miss Brown To You
13 Billie's Blues
14 Lover Man
15 Them There Eyes
16 My Man
17 I Cover The Waterfront
18 Crazy He Calls Me
19 Lover Come Back To Me
Link to download:
"This Holiday set works for me in so many ways. The small combo playing behind her is simplicity and utility at its finest. The intimate supper club sound ( I love the introduction .)The slurring, just behind the beat vocals ( and this is latter day Billie, so what you get are the seasoned, almost world -weary vocals that are a bit deeper, but more nuanced). It features my favorite performance of I Cover the Waterfront ever. Ever. This is one cd I turn to again and again, one that I could not do without and Very Highly Recommended. "
""Billie Holiday's voice is superb, and the musicians that back her up keep it relaxed and genuine. Buy it."
THE COMPLETE ROOST RECORDINGS (1950)
Bass - Joe Calloway (tracks: 8 to 21) , Tommy Potter (tracks: 1 to 7)
Drums - Roy Haynes (tracks: 1 to 7) , Walter Bolden (tracks: 8 to 21)
Piano - Al Haig (tracks: 1 to 7) , Horace Silver (tracks: 8 to 21)
roducer - Teddy Reig
Reissue Producer - Michael Cuscuna
Saxophone [Tenor] - Stan Getz
Notes: Recorded in New York City on May 17, 1950 (tracks 1-7).
December 10, 1950 (tracks 8-15).
March 1, 1951 (tracks 16-21).
Stan Getz Quartet Stan Getz (ts) Al Haig (p) Jimmy Raney (g) Teddy Kotick (b) Tiny Kahn (d)
October 28, 1951, Storyville Club, Boston, MA Live
Stan Getz Quartet Stan Getz (ts) Horace Silver (p) Leonard Gaskin (b) Roy Haynes (d)
August 15, 1951, New York, NY
02 The Alamo 2:46
03 Gone With The Wind (Gone With The Wind) 2:56
04 Yesterdays 2:48
05 Sweetie Pie 2:31
06 You Go To My Head 3:01
07 Hershey Bar 2:37
08 Tootsie Roll 2:09
09 Strike Up The Band (Strike Up The Band) 2:30
10 Imagination (Alternate Tae) 2:33
11 Imagination 2:24
12 For Stompers Only 2:51
13 Navy Blue (Alternate Take) 2:44
14 Out Of Nowhere 2:29
15 's Wonderful 2:55
16 Penny 2:51
17 Split Kick (Alternate Take) 3:10
18 Split Kick 2:54
19 It Might As Well Be Spring (Alternate Take) 2:47
20 It Might As Well Be Spring 2:54
21 The Best Thing For You 2:43
22 Signal (Alternate Take) 5:37
23 Budo (Alternate Take)
01 Thou Swell (Live) (1990 Digital Remaster) 4:26
02 The Song Is You (Live) (1990 Digital Remaster) 7:11
03 Mosquito Knees (Live) (1990 Digital Remaster) 5:24
04 Pennies From Heaven (Live) (1990 Digital Remaster) 5:10
05 Move (Live) (1990 Digital Remaster) 6:05
06 Parker 51 (Live) (1990 Digital Remaster) 6:09
07 Hershey Bar (Live) (1990 Digital Remaster) 3:34
08 Rubberneck (Live) (1990 Digital Remaster) 4:27
09 Signal (Live) (1990 Digital Remaster) 5:54
10 Everything Happens To Me (Live) (1990 Digital Remaster) 3:24
11 Jumpin' With Symphony Sid (Live) (1990 Digital Remaster) 7:27
12 Yesterdays (Live) (1990 Digital Remaster) 3:01
13 Budo (Live) (1990 Digital Remaster) 5:14
14 Wild Wood (Live) (1990 Digital Remaster)
01 Melody Express 2:47
02 Yvette 2:58
03 Potter's Luck 2:41
04 The Song Is You 2:49
05 Wild Wood 3:06
06 Lullaby Of Birdland 2:25
07 Autumn Leaves (Instrumental Version) 3:01
08 Autumn Leaves (Alternate Take) 3:07
09 Fools Rush In (Where Angels Fear To Tread) 2:27
10 Fools Rush In (Alternate Take) 2:32
11 These Foolish Things 3:01
12 Where Or When 2:26
13 Tabu 2:42
14 Moonlight In Vermont 3:15
15 Jaguar 2:34
16 Sometimes I'm Happy 2:20
17 Stars Fell On Alabama 3:05
18 Nice Work If You Can Get It 2:26
19 Tenderly 3:26
20 Little Pony (Live) 2:36
21 Easy Living (Live) 4:20
22 Nails (Live)
"This 3-CD set brings together all the Roost recordings Getz made from 1950-52, including the sides he made with guitarist Johnny Smith; also thrown in for good measure are 3 live guest performances Getz made at Birdland with the Basie band in 1954. Taken as a whole these sides are among the very best Getz ever made, certainly during this early period. Included is a whole CD of material recorded live at Storyville in Boston in October 1951, with Jimmy Raney on guitar, that contains superb examples of Stan's swinging Lestorian approach (Raney is in top form as well). RUBBERNECK, SIGNAL, and MOSQUITO KNEES are timeless and can be listened to over and over again without loosing their freshness. JAGUAR from one of the Johnny Smith sessions reveals incredible technique from both musicians. I'm not sure how long this set is going to remain in print, so if you see it and don't have it, grab it before it's too late. These are essential recordings, not only for Getz fans, but for all jazz enthusiasts. A gotta-have set."
Lee Konitz, Miles Davis, Stan Getz, Stan Levey, Kai Winding, Gene Ramey, Tommy Potter, Don Lamond, Arnold Fishkin, Billy Bauer, Charlie Kennedy, Chubby Jackson, Walter Bishop, Tony Aless, Sal Mosca, and Arnold Fishkind.
02 Hi Beck
05 Indian Summer
06 Duet For Saxophone & Guitar
08 My Old Flame
11 I May Be Wrong But I Think You're Wonderful
12 So What
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"This is a Very Overlooked Gem but the Music here is Fantastic With Miles,Stan Getz&Lee Konitz.Very Essential Recording&Quality Tones."
"These performances are very excellent. Miles, Stan Getz, and Lee Konitz are all on here. Get it if you haven't already, because it is great. P.S. listen to "I May Be Wrong", from the Chubby Jackson Orchestra"
JIMMY SCOTT - Everybody's Somebody's Fool (1952)
I've posted yet,check my entry with Jimmy Scott!
MOONLIGHT IN VERMONT (1952)
Stan Getz (ts) Sanford Gold (p) Johnny Smith (g) Eddie Safranski (b) Don Lamond (d)
NYC, March 11, 1952
01 Where Or When
03 Moonlight In Vermont
05 Jaguar (Alternate Take)
06 A Ghost Of A Chance
08 My Funny Valentine
09 Sometimes I'm Happy
10 Stars Fell On Alabama
11 Nice Work If You Can Get It
14 I'll Be Around
17 What's New
18 I'll Remember April
19 Lullabye Of Birdland
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"If you appreciate the work of the early George Shearing Quintets, or Art Van Damme and his quintet work in the fifties, then you'll like this CD of 19 tracks. Johnny Smith was featured on one of Mr Van Damme's records if I recall correctly. But both Shearing and Van Damme, in appealing to a more popular market, could sometimes veer close to "cocktail music". There is no whiff of cocktails in the program on Moonlight in Vermont. Indeed, the drums, bass, piano combinations are uniformly powerful, and feature some of the masters of the "west coast" sound including Eddie Sanfranski. Even relatively less well known players such as Sanford Gold hold their own in some distinguished company - Stan Getz, Paul Quinichette, and Zoot Sims. Mr Smith is consistently superb and the music still sounds good after 50 years. This CD has SEVEN tracks additional to the original LP."
"In modern times, Johnny Smith has become unappreciated and forgotten for the superb artistry he displayed as a jazz guitarist-maestro. Listen to Moonlight in Vermont. It is unique for its combination of pithy feeling and technical virtuosity. Technically, Smith burns on single-note leads and soothes with inventive chord melody playing. Perhaps his style sometimes borders on being too precious and precise, but this is trifling criticism. His style comes from the "cool" school of jazz (Lennie Tristano, et al.), but he imbues his music with too much controlled emotion to be called purely "cool." Also, fine tenor sax work from Stan Getz and Zoot Sims serve as excellent complements to Smith's fretboard excursions. A must have CD for any fan of true, original jazz guitar (eg, fans of Jimmy Raney, Wes Montgomery, Tal Farlow, Joe Pass, Kenny Burrell, Barney Kessel, Herb Ellis, etc.)."
"This album was the 1952 Down Beat Jazz Record of the Year and is also considered by most jazz critics to be one of the top 20 albums of all time for any jazz collection. Whether you are listening to the superlatively sweet 'Moonlight In Vermont' or the up-tempo 'Jaguar' or 'Tabu' you are treated to Johnny's virtuosity as well as the all-star talent his is accompanied by on every cut. A must for every jazz lover or serious stundent of jazz and jazz guitar."
"A beautiful document of some of the most laidback jazz ever recorded -- the sublime 50s recordings of the Johnny Smith group, done at a time when the lineup included Stan Getz! The tunes on the set feature Johnny's mellow electric guitar setting the pace, alongside wonderfully-blown early solos from Stan, plus some other tenor work from Zoot Sims and Paul Quinichette, who also sit in the tenor chair on a few of these recordings. The tunes are mostly standards, but done in a great style that's not exactly cool jazz, but which has a groundbreakingly easy groove that's simply sublime!"
THE BIRDLAND SESSIONS (1952) with JIMMY RANEY
Jimmy Raney, Horace Silver, Charlie Mingus, Connie Kay, Duke Jordan, Gene Ramey, Phil Brown
01 Woody'n You
03 The Song is You
04 I Only Have Eyes For You
05 Move06 Long Island Sound
07 'Round Anout Midnight
10 Potter's Luck
11 I Can't Get Started
12 Parker 51
13 My Old Flame
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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. "
WEST COAST LIVE (1953) with CHET BAKER
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 5-7)
01 My Funny Valentine
02 Strike Up The Band
03 The Way You Look Tonight
04 Yardbird Suite
06 Winter Wonderland
07 Come Out Wherever You Are
09 What's New?
10 Half Nelson
11 Little Willie Leaps
12 Soft Shoe
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
Links to download:
"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! "
DIZ AND GETZ / DIZZY GILLESPIE - DIZ AND GETZ (1953)
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
06 One Alone
07 Girl Of My Dreams
08 Siboney (Part 1)
09 Siboney (Part 2)
Link to download:
"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 performances."
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) [Live]
09 We'll Be Together Again
10 Feather Merchant
Link to download:
"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)
03 Suddenly It's Spring
04 Night In Tunisia
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
Link to download:
"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."
HAMP AND GETZ (1955) with LIONEL HAMPTON
Stan Getz Quartet / Lionel Hampton Stan Getz (ts) Lionel Hampton (vib) Lou Levy (p) Leroy Vinnegar (b) Shelly Manne (d)
02 Ballad Medley
04 Jumpin At The Woodside S
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"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 Manne.....it 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)
02 Dark Eyes
03 Wee (Allen's Alley)
04 Lover Come Back To Me
05 Dark Eyes
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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. Period."
ANITA O'DAY - Pick Yourself Up with Anita O'Day (1956)
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
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"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. HIGHLY RECOMENDED."
THE STEAMER (1956)
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?
Link to download:"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 here!"
"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 ballads."
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
04 What's New?
05 Baubles, Bangles and Beads
06 Where Do You Go?
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"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 instead.
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 account.
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."
AWARD WINNER (1957)
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
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"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
09 It Never Entered My Mind
10 Blues In The Closet
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"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 progress.)
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, though.)"
"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
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"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"
GETZ MEETS MULLIGAN IN HI-FI (1957)
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
07 Scrapple From The Apple
08 I Didn't Know What Time It Was
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"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... YOU SHOULD. YOU SHOULD. "
"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 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 3:28
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
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"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 combination......you 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."
THE SILVER COLLECTION (1957) with OSCAR PETERSON
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
11 Blues For Herky
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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
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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
02 Medley: Autumn In New York / Embraceable You / What's New?
03 I'll Remember April
04 Half-Breed Apache
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"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)...you 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... "