STAN GETZ Part 2. in the 60's
Stan Getz (ts) Blanchie Birdsong (harp) Dave Hildinger (vib) Jan Johansson (p) Freddy Dutton (b) Sperie Karas (d) Russ Garcia (arr, dir) unidentified strings
Baden-Baden, West Germany, March, 1960
01 The Thrill Is Gone
02 It Never Entered My Mind
03 Early Autumn
04 When I Go I Go All The Way
05 A New Town Is A Blue Town
06 Round Midnight
07 Born To Be Blue
08 Whisper Not
10 Nature Boy
12 I Didn't Know What Time It Was
13 Nica's Dream
14 Little Rio
15 Keep Me In Your Heart
16 Zigeuner Song
17 I Want To Live
18 Where Flamingos Fly
19 Midnight Samba
21 Darling Joe
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"In another generous release from Verve Records, Stan Getz fans are treated to two of the legendary saxophonist's best albums on one digitally remastered CD: "Cool Velvet," an album with strings, and "Voices," an excitingly experimental project featuring backup singers.Getz's grace and beauty of tone have rarely been as evident as they are on the "Cool Velvet" tracks; ballads like "The Thrill is Gone," "It Never Entered My Mind," and "Born to Be Blue" will leave no doubt in any listener's mind as to the level of his artistry. "Early Autumn" and "Round Midnight" get stunning renditions, and "Whisper Not" picks up the pace ever so slightly, and the combination of Getz, vibraphone, and strings over the tune's catchy melody make for one of the most memorable moments in Stan's career."Voices" is another chance for Getz fans to indulge in his love of Bossa Nova; with the exception of a gorgeous, drowsily-swinging "I Didn't Know What Time it Was," every track gets a sensuous, Brazilian-influenced arrangement. What sets the project apart from others, however, is the inclusion of background singers; "ooh"s and "aah"s sing the parts that would more commonly be assigned to violins, and the idea works surprisingly well, providing a near-ethereal effect. The musical arrangements are simply perfect throughout, and the strongest work lies in the uptempo "Nica's Dream" and the silky ballad "Infinidad."The end results simply cannot be beat: two albums, two distinct artistic approaches of a jazz legend, a top-notch remastering job, and extensive liner notes...all on one disc at a reasonable price. No fan of instrumental jazz could ask for more."
"The playing by Getz is top notch; the same can be said for the other musicians as well as the voices on VOICES. Also, the arrangments are superb and I like the strings and harp on the 1st album and the voices on the 2nd. This is definetely cool jazz but played with plenty of hot passion underneath all the coolness. This is not casual lounge music.Here is my only gripe: The second album could have used more standards. I DIDN'T KNOW WHAT TIME IT WAS is the best cut from that side but the bossa nova tunes pale a bit in comparision to his work with Gilberto and Jobim.On the 1st album, there is a better balance between standards and lesser known tunes. GOODBYE written by Gordon Jenkins stands out as the best in my opinion.If you're new to Stan Getz, then you should get STAN GETZ's finest hour to provide you a superb overview of his work. And of course, GETZ/GILBERTO is the defintive bossa nova album!!But for the more serious Getz fans, this 2 for 1 package is a bargain and a pleasant collection which highlights his second to none playing.The sound quality and mix is superb as I have found with all VERVE albums I own. Keep in mind, these albums were recorded in 1960 and 1966 respectively; long before DOLBY and digital sound. But then, I prefer the good old analog rich and warm sound."
Bob Brookmeyer (vtb) Stan Getz (ts) Steve Kuhn (p) John Neves (b) Roy Haynes (d)
San Francisco, CA, September 12 & 13, 1961
01 Minuet Circa '61
02 Who Could Care?
03 Nice Work If You Can Get It
04 Thump, Thump, Thump
05 A Nightingale Sang In Berkeley Square
06 Love Jumped Out
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"Listening to Stan Getz works, one is amazed at the number of major future talents who he hired as backup musicians, Gary Burton, Al Haig, Kenny Barron, to name a few. The only musician to turn up more future talents than Getz was Miles Davis. Despite marvellous technique, it was Stan in the spotlight, he tended to let them have a short solo and paid them musical minimum wage. The exception was Bob Brookmeyer and his valve trombone who was so talented Getz treated him as an equal and played duets with him, at the same time, rather than giving him space for a short solo. Getz valued him so much he even told a magazine Brookmeyer had join his band. Brookmeyer objected. Getz retreated and said it was wishful thinking. They got together on and off for years. Getz even changed mouthpieces when playing with Brookmeyer so his sax would have a similar tymbre to Brookmeyer's trombone. I like their effort "Jazz at the Shrine". This is more complex duet play, fast, light, bebop, dry, in a similar vein to Shrine."
"I ordered this CD for my father for xmas. He heard this record on LP in the sixties, now he realized that it was re-released on CD. He said that this is the Getz-Brookmeyer quintet's best record ever. Soon after this Stan moved to the well-known bossa-novas, which are also unforgettable and five stars *****! "
"Back then they called it "cool", but this is real jazz played smoothly. Mellow mood music with sensitive interplay between the two principal performers, backed by a fine rhythm section (pianist Steve Kuhn, bassist John Neves and drummer Roy Haynes)."
Stan Getz (ts) Allan Martin, Gerald Tarack (vln) Jacob Glick (vla) Bruce Rogers (vlc) Steve Kuhn (p) John Neves (b) Roy Haynes (d) Eddie Sauter (arr) Hershey Key (cond) unidentified woodwinds
01 I'm Late, I'm Late
04 I Remember When
07 A Summer Afternoon
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"I was working the midnight shift in the lab at Clark Air Base in the Philippine Islands when this haunting sound came out of the radio. As the morning crew came to work EVERYONE stopped to listen to what was being played. I was mesmerized and stayed late to find out who was playing. This is NOT a combination of jazz and classical music. The music was arranged by Eddie Sauter, an amazing composer who was noted for the Sauter/Finnegan Orchestra which played a lot of cutting edge music in the 50's. It was written specifically for Getz, and Sauter was present at the recording. This was my first exposure to Getz, and I'll never forget it. A few months later I heard Desafinado, and again I was glued to the spot. This is not my favorite recording of Stan, but for that you need to pick up Stan Getz Quartets (if that's what they're calling it these days). It is a collection of tunes that he recorded in the late 40s, early 50s and was playing like a young man posessed. This is a more mature sounding player, but just as inspired."
"To Stan's fans, to those who appreciate Jazz and Classical Music, to those who are looking for deep music, to those who are looking for romantic music (but not late night relaxing music for lazy moments), for those who are looking for a high-class music that possesses sweet sadness, THIS IS THE ALBUM YOU SHOULD OWN. You can call it a tenor saxophone concerto. All the pieces are well written and well played. It is not an easy listening music, it requires some concentration. Just listening to pieces like "Her" or "once upon a time" makes my soul wonder between imaginary heavens, leaving a helpless body thrown on a chair incapable of doing nothing but to wait for the soul to come back from "somewhere over the rainbow"."
"This is an absolutely unique and fascinating CD! The string arrangements are very original and provocative--not syrupy at all, but not dissonant either. Stan Getz' tenor playing is equally original and provocative. I've been a big jazz fan for 30 years, but this album completely surprised me with its originality. Stan's playing here is more progressive and provocative than many of his other albums. Not sentimental and not discordant, just interesting and enjoyable solid jazz improvisations over thoughtful intelligent string arrangements. Not your typical standards album."
Stan Getz, Bernie Glow, Romeo Penque, Ray Alonge, Nick Travis, Tony Studd, Tommy Williams, Ray Beckenstein, Joe Ferrante, Walt Levinsky, Willie Dennis, Gary McFarland, Johnny Rae, Eddie Caine, Gerald Sanfino, Babe Clark, Carmen Costa, and Jose Paulo.Bernie Glow, Doc Severinsen, Joe Ferrante (tp) Clark Terry, Nick Travis (flh) Tony Studd (tb) Bob Brookmeyer,Willie Dennis (vtb) Ray Alonge (frh) Ed Caine, Romeo Ponque, Jerry Sanfino (fl) Ray Beckenstein (cl) Stan Getz (ts) Hank Jones (p) Jim Hall (g) Tommy Williams (b) Johnny Rae (d) Carmen Costa, Jose Paulo (per) Gary McFarland (arr) 30th Street Studios, NYC, August 27, 1962
01 Morning Of The Carnival
02 Street Dance
04 Sympathy Between Friends
05 No More Blues
06 Night Sadness
07 One Note Samba
08 Bim Bom
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"The delicate beauty of bossa nova and the brasher gestures of big band don't sound like an obvious heavenly match, and the relationship is sometimes awkward on this CD. A famous song like 'Bim Bom' doesn't gain a lot from the fusion, and loses much. Tracks like 'Chega de Suadade' or 'Noite Triste' don't really sound like bossa nova at all, if we mean by that term a kind of music with a recognisable sound colour. If we mean by 'bossa nova' a certain way of playing jazz, a flexible, fluid yet tight rhythmic form, then they certainly are: both are terrific, cinematic in their expansiveness, soundtracks to a forgotten film noir, a menacing, anxious, probably French one. The elaborations conducted on 'One Note samba' are very exciting. The high point, however, is Bonfa's 'Manha de Carnaval', which, along with Jobim's 'Insensatez', is the crowning glory of bossa nova. If it's a morning, it's one after the night before, opening with bleary quiet, before taking us on a steadily accumulating journey through Brazilian life just before the carnival explodes. Getz's playing is once again a marvel of expressive restraint."
"Getz other Bossa Nova album's are classics. Start with the delightful "Getz/Gilberto", the second best selling Jazz CD of all time, then "Jazz Samba", "Jazz Samba Encore". But by the time Norm Grantz at Verve pushed him into this, he was pretty tired of Samba.
"Chenga de Saudade" is definitely the best and "Niote Triste" is pleasant but this type of big band highly-scripted format wasn't his forte. It's Stan, so he's (almost) never bad, he puts on a brave face and does the best under the circumstances. Inoffensive, but quite Pop and shallow. Make sure you have the other albums above before you get this one. Sorry they can't all be great. Tryin' to save you money."
"Being a big fan off Gary McFarland I can only say this is a beautiful album with big band recordings. Highlight Manha de Carnaval.Pitty there are no (?) extra bonus tracks on this CD. Highly recommended."
"An overlooked gem from the Verve bossa years -- a session that features the sweet tenor sax work of Stan Getz, alongside some swinging bossa arrangements from the great Gary McFarland! Given the strength of Gary's own work for Verve at the time, it's no surprise that he's a perfect accompanist for Getz on the session -- working with just the right amount of space to let Stan stand out from the pack, and really creating a great blend of Brazilian rhythms and some of the modder 60s styles at Verve."
Stan Getz (ts) Charlie Byrd (g) Gene Byrd (g, b) Keter Betts (b) Buddy Deppenschmidt (d) Bill Reinchenbach (per)
"All Souls Unitarian Church", Washington, DC, February 13, 1962
02 Samba Dees Days
03 O Pato (The Duck)
04 Samba Triste
05 Samba De Uma Nota So (One Note Samba)
06 E Luxo So
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"Guitarist Charlie Byrd was invited to travel and play in Brazil during a cultural goodwill tour sponsored by the Kennedy administration in 1961. He was completely enamoured by the music, and when he returned, he headed straight for the recording studio to make the now classic Jazz Samba. Collaborating with Stan Getz on tenor sax and backed by a band that included Gene Byrd (bass, guitar), Keter Betts (bass), and Buddy Deppenschmidt and Bill Reichenbach (drums), Byrd forged a new and brilliant sound. American record companies were to churn out hundreds of watered bossa-pop albums that have since given the style its lounge-addled image, but this album stands as a tribute to the vitality and adaptability of jazz. --Louis Gibson
"the perfect introduction to U.S.-filtered bossa nova. I say 'U.S.' because the sound Charlie Byrd and Stan Getz bring to these classics are considerably smoother and broader than originals which can be often raspy or intensely private, but always richly nuanced. Getz's playing is masterfully self-effacing, never virtuosic for its own sake: you might forget he's even there as he conducts intimate conversations with Byrd's often Reinhardt-like guitar, or the quietly insistent rhythms, and yet he is the soul of this beach music that sounds so sad.The best tracks are the old Jobim favourites 'Desafinado' and 'One note samba', in which the familiar melodies are taken through the most intricate, yet never alienating, variations, always obeying that hypnotic bossa nova beat. 'E Luxo Se' is a wide-eyed beauty, beaming the kind of melody that makes you instantly happy no matter how miserable you felt before you heard it. The same could be said for the whole of this marvellous album, perhaps best listened to at night when you're feeling weary, ready to dream..."
"How do you critique the album that started an era? Forty years later, Jazz Samba is still one of the most relaxing, rhythmically pleasing albums made. All instrumental, with the tenor sax of Stan Getz (the guy John Coltrane professed to admire!) and inspired guitar of Charlie Byrd. The entire album was recorded in one session in the performance hall of a Washington, D.C., church, and it puts legions of studio albums to shame.While Desafinado and Bahia are the best known tracks, the album is a seamless experience and it is difficult to single out certain songs as superior. If Getz is one of the masters of the tenor saxophone, it is also hard to separate his proficiency from the effort as a whole -- it truly comes across as a tight ensemble effort. (For a contrast, Duke Ellington's masterful and equally essential Money Jungle released the same year finds the trio of Ellington, Mingus and Max Roach locked in a musical duel on a couple of tracks.)Favorites? I enjoy Samba de Uma Nota So, but every time I reach for Jazz Samba I alway listen to the entire album. At least once. This and Getz/Gilberto belong in every jazz collection."
"This is the album that kicked off the bossa nova craze in the US over 40 years ago. In the hands of lesser musicians this style could degenerate into lightweight cocktail music, but not here. Stan Getz's feathery, soft saxophone playing weaves beautiful melodies over the swaying, dancing Brazilian rhythms. Charlie Byrd's is terrific on the acoustic guitar and the tunes will get stuck in your head after 3 spins or less. The only possible complaint is the short playing time -- a mere 35 minutes.This recording isn't as well-known as Getz/Gilberto but is just as essential. If you like Getz's playing, be sure to get some of his other, non-bossa-nova recordings as well. (One more caveat: those looking for more vocals by Astrud or Joao Gilberto will be disappointed -- this CD is entirely instrumental.)"
Stan Getz (ts) Antonio Carlos Jobim (p, g) Luiz Bonfa (g) Tommy Williams (b) George Duvivier (b -2/5) Don Payne (b) Paulo Ferreira (d) Jose Carlos (d, per) Maria Toledo (vo) Dave Bailey (d, per)
02 So Danco Samba
04 O Morro Nao Tem Vez
05 Um Abraco No Getz
06 Menina Flor
07 Samba De Duas Notas
08 Manina De Maria (Mania De Maia)
09 Saudade Vem Correndo
10 Ebony Samba
11 Ebony Samba
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"'Jazz Samba Encore' is a more muted affair than its predecessors 'Jazz Samba' and 'Big Band'. Although featuring both men, the emphasis is more on Luiz Bonfa than Antonio Carlos Jobim, and Bonfa's songs 'lack' Jobim's pop instincts, favouring a restrained, more groove-based effect, which can be quietly intoxicating, Getz's melancholy sax contributing to the mood. Even more upbeat songs like 'So Danco Samba', despite its title, are more of a late night shuffle than a beach monster. The effect can be largely attributed to singer Maria Toledo, whose strangely disembodied voice haunts the songs. She is rarely the focus, floating in and out of the background like a presiding ghost. Even in a song she clearly dominates, such as 'Insensatez', a phantosmagoric quality makes her vanish into the precious sadness of this song which, with Jobim's understated, unbearably poignant piano, is surely the most beautiful ever written."
"Luiz Bonfa's playing is as beautiful as Stan Getz's playing is as good as Maria Toledo's singing. After several years I still can't get over how good these three are, and how beautiful each arrangement is - Antonio Carlos Jobim lent a hand with the arrangements and also appears on several tracks playing the piano in his distinct and most singinglike way. There are upbeat sambas as well as some incredibly moving slower tracks. Their version of "Insensatez" is, without doubt, the most beautiful ever recorded. It's such a treat to hear such wonderful music!Both Stan Getz and Luiz Bonfa as masterful "singers" of their instruments. Everything they play on this album is singable; and I give you my personal guarantee that they will give you goose bumps, make your eyes water, spine tingle. Maria Toledo's voice is one of a kind - powerful, with a dark but sensitive tone. Writing these things now as I ponder the effect "Jazz Samba Encore" has had on me, I realise that I am in love with the album. Everything I could and would say about it will be written from the perspective of one dizzy and confused by his emotions. It is impossible for me to retain a cool, unaffected tone in my writing because of my feelings for the album. As a result, I risk hyperbole and sickly attempts to poeticize upon what really speaks for itself - sample the music, keeping in mind that the initial beauty that strikes you will continue as you come to know the album better and the subtleties reveal themselves. Everyone who hears this album loves this album."
Stan Getz (ts) Antonio Carlos Jobim (p) Joao Gilberto (g, vo) Tommy Williams (b) Milton Banana (d) Astrud Gilberto (vo -2,5)
01 The Girl From Ipanema
03 Para Machuchar Meu Coracao S
05 Corcovado (Quiet Nights Of Quiet Stars)
06 Só Danço Samba
07 O Grande Amor
08 Vivo Sonhando
09 The Girl From Ipanema
10 Corcovado (Quiet Nights Of Quiet Stars)
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Originally released in March 1963, this collaboration between saxophonist Stan Getz and guitarist João Gilberto came at seemingly the end of the bossa nova craze Getz himself had sparked in 1962 with Jazz Samba, his release with American guitarist Charlie Byrd. Jazz Samba remains the only jazz album to reach number one in the pop charts. In fact, the story goes that Getz had to push for the release of Getz/Gilberto since the company did not want to compete with its own hit; it was a good thing he did. Getz/Gilberto, which featured composer Antonio Carlos Jobim on piano, not only yielded the hit "Girl from Ipanema" (sung by Astrud Gilberto, the guitarist's wife, who had no professional experience) but also "Corcovado" ("Quiet Night")--an instant standard, and the definitive version of "Desafinado." Getz/Gilberto spent 96 weeks in the charts and won four Grammys. It remains one of those rare cases in popular music where commercial success matches artistic merit. Bossa nova's "cool" aesthetic--with its understated rhythms, rich harmonies, and slightly detached delivery--had been influenced, in part, by cool jazz. Gilberto in particular was a Stan Getz fan. Getz, with his lyricism, the bittersweet longing in his sound, and his restrained but strong swing, was the perfect fit. His lines, at once decisive and evanescent, focus the rest of the group's performance without overpowering. A classic. --Fernando Gonzalez
"This album is bossa nova's finest moment. It contains the definitive version of one of the greatest hits in jazz music --- The Girl From Ipanema --- the first part sung in Portuguese by guitarist/singer João Gilberto, the second in English by his ex-wife Astrud who had never sung professionally before this recording. All the songs were written by Antonio Carlos Jobim except Para Machucar Meu Coraçao and Doralice. Stan Getz's lyrical yet swinging solos complement João's equally lyrical singing and rhythmic guitar playing. The unassuming Jobim plays a brief but beautiful piano solo on Corcovado (Quiet Nights of Quiet Stars). Tommy Williams (bass) and Milton Banana (drums) provide the steady rhythm without overpowering the music. To this day, Getz/Gilberto remains the definitive bossa nova album. The sound quality on this 20-bit remastered edition is even more brilliant than the original CD reissue. Moreover, the fading notes on some of the selections have been extended, thus prolonging the listening pleasure just a bit more. This album proves that music is indeed a universal language. You don't need to know Portuguese to understand, let alone, appreciate this album. All you need is the ability to appreciate fine music and an innate sense to admire beauty, and this CD has plenty to offer. "
"These songs knocked everyone off their feet when they debuted at what seemed to be the end of the Bossa Nova craze --in the cool-post-Beatnik 60's cocktail era. But actually, in Brazil, the Bossa Nova fever never did quite cool off and in '72, when I was visiting family there, this album was still trotted out proudly at every gathering. Not only is this album a great party CD for "retro" parties, relaxed evenings or just sitting at home and relaxing, but it introduces you to the greats of Brazilian music. Oh, there is a whole lot more great Brazilian music than just this, but this album is surely the place to start. (By the way, if you have insomnia, this can be quite soothing. Lie back on that imaginary beach in Rio and float away on Gilberto's soft voice. Mmmmmmm....)"
Stan Getz (ts) Steve Kuhn (p) Laurindo Almeida (g) George Duvivier (b) Dave Bailey (d) Edison Machado, Luiz Parga, Jose Paulo, Jose Soorez (per)
Webster Hall, NYC, March 21, 1963 and Webster Hall, NYC, March 22, 1963
01 Once Again (Outra Vez)
02 Samba De Sahra (Sahra's Samba)
04 Monica Moca (Young Lady)
05 Winter Moon
06 Do What You Do, Do
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This Album was Recorded by Producer Creed Taylor who Capitalized on the Famed Saxophonist's Passion and Comfort with Brazilian Music. These Sessions were Recorded Just Three Weeks after Sessions with Luis Bonfa and Only Two Days after the Monumental Sessions Recorded with Joao Gilberto. "Outra Vez" Hit the Charts, but it was the Whole of this Album that Set Jazz Aficianados Hearts Alight.
"This Stan Getz collaboration with Laurindo Almeida is a jazzier affair than the more pop-friendly likes of 'Jazz Samba' and 'Getz/Gilberto', which probably explains its lack of chart success. The emphasis is less on pop melody and the more superficial pleasures of bossa nova - these instrumental tracks are longer, more involved and intricate, and, with the exception of 'Corcovada', less familiar. With no vocalists to upstage him, Getz takes centre stage, and his playing is much more immediate than on, say, 'Jazz Samba'. It would be a shame to miss out on this fantastic album, the bossa nova shaping some exceptional old-style jams, with 'Menina Moca' and 'Outra Vez' indelible workouts, sax and chugging guitar sparking with the mesmerisingly monotonous rhythm; while 'Winter Moon' is a nocturnal wonder, gentle troubadour guitar meeting insistent sax to evocative effect."
"Laurindo Almeida is one of my favorite guitarists. He was a real talent, perhaps in the shadow of some of the other greats from Brazil when Bossa Nova was so popular like Baden Powell, Luiz Bonfa, Joao Gilberto, etc. etc. But here I think he shines brightly with none other than Stan Getz who really was "the Sound". I can't say it enough - I love this album. Granted, it is very short - just under 30 minutes of music. But in that time you have some tracks that take you to that time, to a summer sunset. Listening to the vinyl though hold's something a bit more special to me, but both formats have all the songs from the feature - the difference being that the CD actually has an additional track - a rendition to "Corcovado". But I love Menina Moca and I think my other favorite is Maracatu-Too. It's almost impossible not to like the bossa in that song, which keeps the track so tight and moving... let alone Stan Getz's guitar layered over the piano and Laurindo's guitar as the notes take off. Definitely check this one out. I think it's woefully underrated out of all of the great Stan Getz Bossa Nova collaborations. It's purely a matter of taste but it's certainly one of my top two, if not number one (depending on the mood). And if you do like this, check out Getz/Gilberto, Stan Getz Big Band Bossa Nova and especiall Getz/Bonfa, which features Luiz Bonfa's wife, Maria Toledo, with stunning & haunting vocals. "
Stan Getz / Lalo Schifrin Stan Getz (ts) George Devens (vib) Kenny Burrell (g) George Duvivier (b) Joe Hunt (d) Lalo Schifrin (cnd, arr) Choir, Percussions
01 Moonlight In Vermont
02 If Ever I Would Leave You
05 Sleeping Bee
07 Early Autumn
08 Penthouse Serenade
09 Spring Can Really Hang You Up The Most
10 Nitetime Street
11 Blowin' In The Wind
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"I've owned this controversial album for years and have always enjoyed it. The arrangements are interesting, with alot (sometimes too much) back-up from vocals and strings. However, it seems to me that Stan Getz puts more into his playing on this disc than he does on the formulaic bossa nova albums of the same period. Worth the small price just to hear Stan's version of "Blowing in the Wind""
"This was a demonstration that Stan Getz refused to be boxed into any one area of music and for that he deserves tons of credit. Whether it was lilting bossa-nova or unique classically-infused outings like the brilliant "Focus", Stan was indeed taking risks. On "Reflections", he goes for a more commercial pop angle and succeeds about half the time, not because of his playing so much as Claus Ogerman's arrangements which can range to very thoughtful and colorful to outright schlock that gets DANGEROUSLY close to Ray Conniff Singers territory. The real gems include "Moonlight In Vermont" with its sweeping arrangement, "Love" with its fiery percolating Latin rhythms and Stan just letting loose, "Spring Can Hang You Up The Most" and "Nite Street" are real highlights too with tastefully swinging arrangements. "Charade" is a better than average Bossa tune and "Penthouse Serenade" is a real ear opener with its tricky 6/8 heavily syncopated meter and Stan just coloring it like an expert painter. The rest of the album goes more than a little saccharine and as much as I"ve tried I just CANNOT GET BEHIND this schlock-treatment of Bob Dylan's "Blowin' In The Wind", it just does not work! "A Sleeping Bee" is just too bogged down in Ray Conniff-esque vocal choruses to be listenable, ARRRRRRGH!"
Stan Getz (ts) Gary Burton (vib) Gene Cherico (b) Joe Hunt (d)
01 Here's That Rainy Day
02 Waltz For A Lovely Wife
04 Out Of Focus
05 Sweet Sorrow
06 Nobody Else But Me
08 What Is This Thing Called Love?
09 Little Girl Blue
10 Waltz For A Lovely Wife (single ver.)
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"At the height of the Bossa Nova era, "Getz/Gilberto" the second best selling Jazz album of all time behind Miles Davis "Kind of Blue", was riding high. Norm Granz at Verve wanted those bucks from the Golden Egg to keep flowing in. "Getz/Gilberto" and "Jazz Samba" were piling up the coins. Stan the Man had tired of the limiting nature of Bossa Nova, and being pigeon-holed as a featherweight. Also his affair with Astrud Gilberto had torpedoed her marriage to the shy introverted Joao Gilberto, so it was unlikely the Getz/Gilberto arrangement would bear more fruit. Getz got a whole new band (of unknowns), and a whole new direction. He was at the height of his powers before the lost 70's and his resurgence in the 80's. He taps the then unknown Gary Burton on vibes and records this masterpiece of melody, harmony and smooth laid back Cool. Then Granz put the tape on the shelf (not to interfer with Bossa Nova's success) and lost it!!! For 30 some years it is misplaced, to turn up again in the 90's after Getz death. What we have here is a masterpiece, in my Getz-best list. Getz floats and soars. Burton is all over the vibes to keep up. Lots of gorgeous ballads with smooth buttery tone (listen to "Summertime"). Very romantic. Title track is a standout, as is "Here is that Rainy Day", "Little Girl Blue". Stan degs deep in his soul to play here. This CD is more like his profound late 80's output, like "Anniversary" than anything else I can think of. Getz did hundreds and hundreds of albums, this ranks with the best. Highest recommendation. Get it while you can. On my tough grading system this gets an "A" or five stars as representative of the best of Getz work, and an all-time Jazz classic."
"This was recorded right after Stan's initial bossa nova successes, and points to a change in direction for his playing. His tone is as gorgeous as ever, maybe even more so, yet his technique is becoming denser, deeper. The group (besides Stan on tenor there is Gary Burton [vibes] Gene Cherico [b] and Joe Hunt [d]) plays more and more as a single unit, exploring each tune's structure, not so much as four individual musicians, but as a whole. Hunt's drumming has become almost a front-line instrument and is not just there for time-keeping purposes. The highlight for me is LITTLE GIRL BLUE, taken slowly, on which Stan plays the verse. It's a beautiful performance. Also very good are SUMMERTIME, HERE'S THAT RAINY DAY (another lovely ballad), and the title track. This marked a definite step forward in Stan's approach to the music, and it's an interesting and wonderful CD. Check it out. "
Stan Getz (ts) Gary Burton (vib) Chuck Israels (b -1,7,8) Gene Cherico (b -2/6) Joe Hunt (d) Astrud Gilberto (vo -1,2,6) "Cafe Au Go Go", Greenwich Village, NYC, May 22, 1964
Kenny Burrell (g) Helico Milton (d) replaces Israels, Hunt "Cafe Au Go Go", Greenwich Village, NYC, October 6, 1964 (tracks 9-10)
01 One Note Samba
02 Only Trust Your Heart
04 The Singing Song
06 Eu E Voce
08 Here's That Rainy Day
09 The Telephone Song
10 It Might As Well Be Spring
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The sultry, cool vocals of Astrud Gilberto steal the show of this live 1964 set, recorded in Greenwich Village's Cafe Au Go Go. Backed by Gary Burton on the vibes, Gene Cherico on bass, and skinsman Joe Hunt, Getz and crew saunter through "Summertime," "The Singing Song," and "6-Nix-Pix-Flix" (the latter two penned by the then-21-year-old Burton). Of course, nothing comes close to the magic of Gilberto and her breathtaking contributions on "Quiet Nights of Quiet Stars," "It Might as Well Be Spring," and "The Telephone Song." Compared to some of his more adventurous early-'60s recordings (Focus, Mickey One), Getz Au Go-Go--the saxophonist's last bossa nova disc--is an oasis of comforting cool-jazz sounds. --James Hendrickson
"The Astrud Gilberto Album has a better selection of songs. Getz was surely more inspired on Getz/Gilberto and Jazz Samba. Nevertheless, this is relaxing, enjoyable cool jazz. Astrud sings on five of these tunes. She sings very well, with the classic sound we love so well. I hate the English lyrics to One Note Samba, but that's not her fault. Anyone who knows these artists probably won't be awed, nor with they be disappointed by these performances. A solid 3½ to 4 stars. I have no idea where the songs were recorded. Some of them are obviously studio recordings, because the acoustics are pretty dead -- with a little artificial reverb added. Also, the fact that there is no applause after the instrumental solos is a dead giveaway. Why would they paste applause recorded on a club date at the end of these studio recordings to try to fool the listener into thinking they were live tracks? I haven't a clue. A few of the tracks are clearly live performances recorded in a small club. The sound quality is not quite up to the standard of the studio-recorded songs, but audience reactions and the acoustics of a jazz club are evident. This is a pleasant album to add a little variety to your collection of Stan Getz or Astrud Gilberto. It is a document from an era when bossa nova burst onto the American scene, and jazz songs could actually get airtime on top 40 radio and turn into big hit records. "
"This ellegantly swinging (if I'm not mistaken, balancao is the Portugese word for swing)bossa nova-cool jazz album may or may not have been recorded in a studio instead of the club it is named after, but it is one my favorite jazz albums, far superior to much more famous (and better selling) "Getz/Gilberto" album. Even if this is an attempt to cash in on the earlier success of Stan - Joao - Astrud blending of jazz and Brazilian music, this time it seems more relaxed and creative if you ask me; Gary Burton is certainly helpful in this respect. All the players are great and Astrud is at her ellegant best, so less than 5 stars would be injustice (in my humble opinion). "
"This is a storied recording, reported to have been a studio album with audience sounds overdubbed...it doesn't sound that way,feels like a live recording. That being said, I don't care if it was taped in a phone booth, it's a great album. Getz sounds great and Gary Burton is on hand with his vibes and Astrud Gilberto is her mesmeric self. I love, "The Telephone Song" catchy and the band seems to be having fun and when Astrud laugh at the end it charms me so. I moved to New York in the late 60's and whenever I walked by The Cafe Au Go Go, I though of this album and it would start me humming "Summertime"."
Bob Brookmeyer (vtb) Stan Getz (ts) Herbie Hancock (p) Ron Carter (b) Elvin Jones (d) Gary Burton (vib)
01 Jive Hoot
03 The Wrinkle
06 Sometime Ago
07 I've Grown Accustomed To Her Face
08 Who Cares
09 Day Dream
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"I waited years for "Bob Brookmeyer and Friends" to get reissued, and when Sony pulled all of their infamous copy-protected, virus-attracting CDs, I was nervous that I would never have a chance to hear this album. Thankfully, Sony has produced new discs without the notorious software, and I have finally been able to purchase and listen to "Friends." Well it was probably inevitable that after all the hype and drama surrounding this title, I would be in for a let down. Don't get me wrong this is a solid session. Recorded in 1964, it features the incredible lineup of Brookmeyer, Stan Getz, Herbie Hancock, Ron Carter, Elvin Jones, and (then) newcomer Gary Burton. Unfortunately, in my opinion, the whole doesn't equal the sum of the parts. From the opening bars of "Jive Hoot," I could tell the emphasis here was more on a commercial sound than an experimental, modern one. Brookmeyer's arrangements and compositions surprisingly favor a more conventional and accessible approach. The playing throughout is subdued, and even Getz only simmers in a setting best suited to his style. (Come to think of it, '64 was when another Getz disappointment was made -- "Stan Getz & Bill Evans.") Of course, this approach really stymies the rhythm trio, particularly Jones who is pushed back in the mix. Even Tony Bennett, making a guest appearance on "Day Dream," one of three bonus tracks not on the original vinyl, can't save the day. Overall, this "Friend" is not tried and true, but instead a bit of the fair-weather variety."
"this is probably the most lyrical cd i've heard, upbeat and hummable. i can't imagine hearing too much stan getz. his opening on misty is just great. all of the musicians here are great. i love the sound of brookmeyer's trombone in this setting. a bit commercial? so what. it marks an aspect of an era. it's not a tribute to body counts or a nod toward social awareness, what it is is good, enjoyable music."
STAN GETZ / JOAO GILBERTO - GETZ/GILBERTO 2. (1964)
Stan Getz (ts) Gary Burton (vib) Gene Cherico (b) Joe Hunt (d)
"Carnegie Hall", NYC, October 9, 1964
01 Grandfather's Waltz
02 Tonight I Shall Sleep With A Smile On My Face
03 Stan's Blues
04 Here's That Rainy Day
05 amba Da Minha Terra
06 Rosa Morena
07 Um Abraco No Bonfa
08 Bim Bom
09 Meditacao 99
10 O Pato (The Duck)
11 It Might As Well Be Spring
12 Only Trust Your Heart
13 Corcovado (Quiet Nights Of Quiet Stars)
14 The Girl From Ipanema
15 Voce E Eu
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This live follow-up to the surprise blockbuster Getz/Gilberto was inevitable. Interestingly, the original LP release of the October 1964 Carnegie Hall concert focused on separate sets by Getz's quartet (featuring vibist Gary Burton) and Gilberto's trio: each is as meditative and sweetly melancholic as you'd expect. Five bonus tracks bring together Getz, Gilberto, and the latter's wife, Astrud Gilberto, in revisiting their collaboration. --Rickey Wright
"According to "Stan Getz - a life in Jazz", Stan had broken up with Astrud after an affair that wrecked her marriage to Joao Gilberto. None of them was speaking to the others. Each got up on stage with a different backup band, mostly they don't play together. Like oil and water. The result is mediocre. A major disappointment after the perfect synchrony and intimacy of "Getz/Gilberto". For completists. "Jazz Samba 2" is a much better followup."
"I got this album about 7 years ago and from the first time I listened to it, it took its place as my all-time favorite. It was my introduction to samba and my inspiration to search for more jazz for my cd collection. The music is so versatile and comforting - it is a perfect complement to whatever mood I'm in, be it upbeat or somewhat sad. It is complex but not too challenging to listen to like some other jazz can be. It does not get old or boring to me. Other reviewers have simply compared this album to others in the genre, but I would rather think of it standing on its own as a wonderful introduction for someone who doesn't have much jazz in their collection, and a must-have for those who do."
"I think you have to be a native from Brazil, and a Bossa Nova lover (like me), to identify something in these live recordings that most Americans accustomed to jazz rhythms won't notice. I am talking about the awkward way João Gilberto performs the songs of this album. It is very different from the way he sings and plays the guitar in the classic Getz/Gilberto album, and I think the reason is that here he is being accompanied by jazz musicians who don't know how to play the samba rhythm correctly. It sounds like Gilberto is simplifying the rhythm and slowing down everything. This makes these recordings no comparison to the Getz/Gilberto album. The tracks by Stan Getz alone are ok."
"This album is the follow-up to the best-selling album in Verve history. The musicians are excellent, the music fun and the spirit bright. I would highly recommend it- I liked it better than the first! Astrud Gilberto's rendition of "Only Trust Your Heart" is reason enough to buy the disk- it it clear, beautiful and very sensual"
A SONG AFTER SUNDOWN-LIVE AT TANGELWOOD BOSTON POPS (1966) with ARTHUR FIEDLER
Ron Carter-bass/Stan Getz-tenor sax/Jim Hall-guitar/Grady Tate-drums/Phil Upchurch-guitar/David Nadien-violin/Walter Bokker-bass/Gloria Agostini-harp/Kenny Burrell-guitar/Artie Butler-percussion/David Carey-vibraphone/Chick Corea-piano/Paul Gershman-violin/RoyHaynes-drums/Charles McCracken-piano/Bobby Rosengarden-percussions/Bill Horwath-cymbalom/Curtis Prince-drums
01 Love Is For The Very Young
02 A Song After Sundown
03 Three Ballads For Stan
04 Where Do You Go?
05 Tanglewood Concerto
06 Girl From Impanema
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"The Getz quartet with Arthur Fiedler and the Boston Pops. Getz is up to speed, but the orchestra is squaresville."
"For this unusual CD, Stan Getz and his all-star 1966 quintet (which was comprised of guitarist Jim Hall, vibraphonist Gary Burton, bassist Steve Swallow and drummer Roy Haynes) are teamed up with The Boston Pops Orchestra under the direction of Arthur Fielder. Getz plays well enough but the arrangements are predictably lightweight with the emphasis on ballads; few surprises occur during this slight disappointment."
Stan Getz (ts) Herbie Hancock or Hank Jones (p) Jim Hall (g) Ron Carter (b) Grady Tate (d) Bill Horwath (cymb) Artie Butler, Bobby Rosengarden (per) Claus Ogerman (arr, cond) unidentified brass, strings and chorus
01 Wives And Lovers
02 The Windows Of The World
03 The Look Of Love
04 Any Old Time Of The Day
06 In Times Like These
07 A House Is Not A Home
08 Trains And Boats And Planes
09 What The World Needs Now Is Love
10 In Between The Heartaches
11 Walk On By
12 A House Is Not A Home
13 In Between The Heartaches
14 My Own True Love
15 Tara's Theme
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"Some people find this album dull for different reasons. For them Stan is not playing bop enough, he is not inspired enough, or the arrangements are unoriginal, or the sounds bad chosen. I disagree toatally with them. I fell in love with this album the very first time I listened to it (and I own a lot of stellar Stan getz recordings). I find Getz in very good shape here, he played Burt's charts with the heart as they should be played, and with his trademark fabolous sound. He was a master musician in every sense and he displayed here the whys. He truly understood the nature of Bacharach poetry and rendered it really well for me, with tenderness and melancholy. This is not a blowing album and should not be. Stan understtod it quite well. It is an album about tenderness, lonliness and melancholy. I particularly love "Wifes and lovers" a tune that always send me out of my head, but "Windows of the world", "Any old time of the day", "What the world needs now", "Walk on by" are equally superlative versions of those songs. I think the arrangements (with strings, orchestra and voices) are balanced, they respect the nature of Bacharach's music very well and still leave Stan enough space to express his ideas. For real, thisalbum is splendid, I have bought it after these bad reviews and I'mhappy I did it because I'm listening to it again and again. I can't have enough of it. Uh, it's even very well recorded. I'm in front of my hiend stereo system (very precious Avalon-Audio Research system) and I can assure you this one is very well recorded. Absolutly, nice stage, Stan is clearly in the middle, surrounded by the orchestra .. there's only a single disappointing moment in the 6th tune ... at some point you have all the instruments on the left channel ... quite strange )... Anyway, if you love Getz and Bacharach (or simply one of the two) this is a musthave. I'd judged it flawless."
"Getz and Bacharach. Sounds like a match made in heaven. Who wouldn't like to hear some smooth bossa and bebop arrangements of classic Bacharach tunes? Not so fast, my friend. Like many jazz artists in the 1960's, Getz made a bad choice in recording pop tunes. While this isn't as bad as many pop LP's by jazz artists of the era (that distiction would probably go to Chet Baker's "Blood, Chet, and Tears"), it suffers from poor production and arrangements.Don't get me wrong, I'm a Getz fan. His tone, style, and interpretations on this disc are the only redeeming things about it. I'm also a closet Bacharach fan, but I can't hold him at fault for these arrangements. I think a combo would have worked better than the string and vocal parts that are here.There are a few highlights. "Walk on By" and "What the World Needs Now is Love" are my picks. Unfortunately, they are paired with such clunkers as an out-of-tune duet (with Getz himself on overdub?) on "Trains and Boats and Planes". The reissue by Verve leaves much to be desired. While they promote this disc features Chick Corea and Herbie Hancock, you barely get to hear them at all. The four bonus tracks are simply two alternate takes without production thrown at them and then two takes of Max Steiner's (not Bacharach!!!) theme from Gone with the Wind. The first is rather Sergio Mendes-esque, but the second is more Getz-like. But why would Verve add tracks by another composer on a Bacharach disc?If you need some musical wallpaper at your next cocktail party, this disc will suit your needs. If you're looking for some good jazz arrangements of Bacharach, I recommend Blue Note's compilation "Blue Bacharach." For better Getz CD's, you should check out one of his releases in Verve's Jazz Masters series or "Getz/Gilberto.""
STAN GETZ QUARTET IN PARIS (1966)
Stan Getz (ts) Gary Burton (vib) Steve Swallow (b) Roy Haynes (d) "Salle Pleyel", Paris, France, November 13, 1966
01 Manha de Carnaval (Morning of the Carnival) [From Black Orpheus]
02 When the World Was Young
03 Singing Song
04 On Green Dolphin Street
05 Stan's Blues
07 Knight Rides Again
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"This is one of those consented recordings that you must have in a secure place, always available for any special occasion. Apart of its undeniable musical virtues, you will hear to Stan in one of his most reminded recitals. Sentiment, expressiveness and poetic ardor blunt in this golden album. Do not miss because of its legendary significance; it's part of the story of the last giants of the sax."
Stan Getz (ts) Chick Corea (p) Ron Carter (b) Grady Tate (d)
02 O Grande Amor
03 Sweet Rain
04 Con Alma
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5 remastered tracks with Stan on tenor sax backed by Ron Carter on bass, Grady Tate on drums, & Chick Corea on piano. Originally released in 1967 on Verve Records. Polygram. 1983.
"As smooth as honey and as fine as spun sugar, this cd flows gently from one song to the next in what appears to be an effortless musical session. This collection of songs is played by a four-piece combo, yet the talent of these musicians create a subtle, but rich experience. Chick Corea who plays awesome piano wrote two of the songs. Other composers are Antonio Carlos Jobim and Dizzy Gillespie. Highly recommended for all Stan Getz or Chick Corea fans, as well as anybody who appreciates fine mellow jazz."
"In 1967, Stan was making the transition from Bossa Nova back to Bop and Cool Jazz. Elements of all these forms are blended in Dizzy's bossa "Con Alma." Young Chick Corea (piano) brought his brilliantly complex compositions, "Litha" and "Windows, which, like "Con Alma," have stretches of bop intensity mixed with cool jazz lyricism. Moreover, there is a more jazzy version of the great bossa nova tune "O Grande Amor." The staggering creativity and versatility of Getz throughout this album literally had me reeling, especially on the opening track, "Litha" and the poignant title track where he explores the lower register of the tenor sax in a unique way. From start to finish, Corea is excellent as is Ron Carter on bass and Grady Tate on drums. All in all, this is an underrated and innovative jazz masterpiece and is as essential for any jazz lover as the more well known "Kind of Blue," "Time Out," and "Sketches of Spain." "
"In my opinion, Sweet Rain by Stan Getz, is one of his best recordings (and believe me, he had many great ones)! This CD has a sound which could best be described as "rich" or "sophisticated." It's easy to see that Mr. Getz selected these tunes very carefully, songs fit together nicely. Not one song on this disc makes you scratch your head and wonder "how did this one get on the album?" The disc is not comprised of "in your face" type songs, you won't find yourself tapping your toes or snapping your fingers, Instead you may find yourself just relaxing and enjoying the music. I recommend many of Mr. Getz recordings but this one in particular stands out for me."
THE SONG IS YOU (1969)
Stan Getz (ts) Stanley Cowell (p) Miroslav Vitous (b) Jack DeJohnette (d)
Paris, France, February 12, 1969
01 The Song Is You
02 O Grande Amor
03 For Jane
04 Dane's Chant
05 Major General
06 Folk Tune For Bass
07 Tonight I Shall Sleep With A Smile
08 All The Things You Are
09 Summer Night
10 One Note Samba
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"Let me say it simply: This CD is one of Getz's finest recordings, out of hundreds. It matches his wistful, moody lyricism with one of the most astoundingly inventive rhythm sections of all time: Stanley Cowell on piano, Miroslav Vitous on bass, and Jack DeJohnette on piano. If you like Getz's "Sweet Rain" with Chick Corea -- which is my personal fave -- you've got to get this. It's lean, adventurous, very subtle music. And at that price, I'd buy it for all the Getz fans you know. I did!"
"A very interesting live set from 1969, and one that captures Stan Getz hanging in the balance between a number of different eras! He's playing here in a vein that's very similar to his work on the classic Sweet Rain album -- with wonderfully rich emotional solos, filled with pain and longing -- but the record also features touches of earlier bossa years, especially on the track "One Note Samba", which features an unnamed female vocalist! The group's a very hip one -- with Stanley Cowell on piano, Miroslav Vitous on bass, and Jack DeJohnette on drums."
DIDN'T WE (1969)
Stan Getz (ts) Johnny Pate (arr, cond) unidentified orchestra
NYC, September-October, 1969
01 Didn't We
02 The Shining Sea
03 The Night Has A Thousand Eyes
04 Go Away Little Girl
06 I Remember Clifford
07 Try To Understand
09 Mandy Is Two
10 What's New?
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"Simply the most beautiful Getz album ever. Epitomizes the mid sixties cocktail era-romantic and cool. Lush strings and haunting sax by the master. Everyone should hear this."
Stan Getz (ts) Richard Heuson (arr, cond) unidentified orchestra NYC, 1969
01 Marraskesh Express
02 Just A Child
03 I'll Never Fall In Love Again
04 Both Side Now
05 Without Her
07 Love Theme From "Romeo And Juliet"
08 Medley: Because / Do You Know The Way To San Jose
09 Raindrops Keep Fallin' On My Head
10 The April Fools
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