Sunday, January 06, 2008

STAN GETZ Part 3. in the 70's

" I never thought about being famous or having a band. I just wanted to play music. " (Stan Getz)

DYNASTY (1971)

Bernard Lubat (Drums)
Eddy Louiss (Organ)
Rene Thomas (Guitar)

CD 1.

01 Dum! Dum! Dum!
02 Ballad For Leo
03 Our King Of Sabi
04 Mona

CD 2.

01 Theme For Emmanuel
02 Invitation
03 Ballad For My Dad
04 Song For Martine
05 Dynasty
06 I Remember Clifford

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"With all of the Stan Gtez recordinds that ARE in print, it's always a shame when you come across one that's pretty unique in an artists's cannon that is not available to the public. I'm no Getz expert but I do know he didn't record in this format very often, especially when one sees almost no standards are in this recording. And the results are quite good. I can't imagine any fan or collector of Getz' works NOT having this one to be honest. Recorded at Ronnie Scott's Club in London on 3 days in March 1971, the band consists of Getz-Tenor Sax along with a trio of Eddy Louiss on Organ, Electric Guitarist Rene Thomas, and Drummer Bernard Lubat. None of the tunes will be familar here except for Benny Golson's "I Remember Clifford". The rest of the tracks are mostly originals by Eddy Louiss or Rene Thomas with one track each from outside composers Albert Mangelsdorf and Bronislau Kaper-both of whom i believe to be European Jazz musicians themselves (I do know of Mangelsdorf's work anyway). The recording quality is quite good and Getz (and indeed the entire band) seem to really be having fun. What more could you want? Personally I think there are too few recordins of jazz organ out there anyway-especially ones which aren't completley based on blues. So this one really does the trick for me-as much for the wonderful band as for Getz himself.. If it comes into print again, do try and pick it up!!"

"With all of the Stan Gtez recordinds that ARE in print, it's always a shame when you come across one that's pretty unique in an artists's cannon that is not available to the public. I'm no Getz expert but I do know he didn't record in this format very often, especially when one sees almost no standards are in this recording. And the results are quite good. I can't imagine any fan or collector of Getz' works NOT having this one to be honest. Recorded at Ronnie Scott's Club in London on 3 days in March 1971, the band consists of Getz-Tenor Sax along with a trio of Eddy Louiss on Organ, Electric Guitarist Rene Thomas, and Drummer Bernard Lubat. None of the tunes will be familar here except for Benny Golson's "I Remember Clifford". The rest of the tracks are mostly originals by Eddy Louiss or Rene Thomas with one track each from outside composers Albert Mangelsdorf and Bronislau Kaper-both of whom i believe to be European Jazz musicians themselves (I do know of Mangelsdorf's work anyway). The recording quality is quite good and Getz (and indeed the entire band) seem to really be having fun. What more could you want? Personally I think there are too few recordins of jazz organ out there anyway-especially ones which aren't completley based on blues. So this one really does the trick for me-as much for the wonderful band as for Getz himself.. If it comes into print again, do try and pick it up!!"


Stan Getz (ts) Michel Legrand (arr, cond) unidentified large orchestra, strings and choir Paris, France, November, 1971


01 Communications 72
02 Outhouse Blues
03 Now You'Ve Gone
04 Back To Bach
05 Nursery Rhymes For All God'S Children
06 Soul Dance
07 Redemption
08 Flight
09 Moods Of The Wanderer
10 Bonjour Tristesse

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"Featuring compositions and arrangements by film composer and jazz buff Michel Legrand, Stan Getz's Communications '72 is one in a long line of strings-and-voices albums the tenor saxophonist recorded. Starting with a Gunther Schuller-arranged session from 1955, Getz produced some impressive work in this context, with the incredible Eddie Sauter collaboration Focus standing out in particular. And even in the midst of some not-so-incredible backing on a few sets, Getz always comes up with impeccable solo statements. For his part, Legrand strikes an expert balance here among jazz combo, strings, and chorus, but the frenetic Swingle Singers-style choral parts don't always come off. While overpowering Getz on the otherwise lovely "Redemption," the vocal interjections sound too overarching in their mix of avant-garde and straightforward phrasing on "Outhouse Blues" and "Bonjour Tristesse." Legrand succeeds elsewhere, though, especially on "Nursery Rhymes for All God's Children" and "Flight." And whether the frequent choral parts on Communications '72 become annoying really comes down to preference, since most of them are tastefully, even provocatively written. As usual, Getz makes it all shine with his golden tone and beguiling solo lines. A good title, but primarily recommended for Getz fans. [The 2003 Japanese reissue of the album does not contain extra material, but it does have dramatically improved sound, being remastered at 24 bit, and features an exact, mini replica of the original cover in heavy gatefold cardboard with a rice paper sleeve to house the disc.]" ~ Stephen Cook, All Music Guide

"Some of the best work that Stan Getz ever recorded -- a fantastic collaboration with French soundtrack maestro Michel Legrand! The album features larger orchestrations by Legrand, often touched with voices -- swirling, swaying, and swinging in a style that's as hip, modern, and fresh as some of the greatest soundtracks Legrand wrote in the 60s. The setting lets Stan really open up -- blowing freely in his best post-Coltrane mode, but with a tightness that's missing from other records -- and a soulful approach to the tunes that really leaves us breathless! Tremendous stuff -- a record that's unlike anything else we can describe, and one we've treasured for years! We love this one to death, and never tire of hearing it! Titles include "Soul Dance", "Flight", "Redemption", and "Bonjour Tristesse"."


Stan Getz (ts) Chick Corea (p, el-p) Stanley Clarke (b) Tony Williams (d) Airto Moreira (per)


01 La Fiesta
02 Five Hundred Miles High
03 Captain Marvel
04 Time Lie
05 Lush Life
06 Day Waves

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Throughout his career, Stan Getz thrived on the challenges presented by a hot young rhythm section, spinning out long, fleet lines with his airy, gauzelike sound. This session from 1972 is one of his finest efforts. The emphasis is Latin and electric, with Chick Corea on electric piano, Stanley Clarke on electric bass, Airto Moreira on percussion, and the crucial factor, Tony Williams, on drums. Together they generate tremendous rhythmic movement and concentrated musical energy on five of Corea's tunes, and Getz's response is superb, combining cool lyricism and an inner fire in a way that suggests musical cold fission. "La Fiesta" and "Captain Marvel" are particularly potent, while the brief version of Billy Strayhorn's "Lush Life" is a concentrated and deeply moving vignette. --Stuart Broomer

"Prior to forming the innovative fusion band Return To Forever, Chick Corea, Stanley Clarke and Airto Moreira served valuable apprenticeships with tenor legend Stan Getz. On this hot classic these four stellar players joined with ex-Miles Davis drummer Tony Williams and brought Getz into the electric-jazz era with a powerful kick. The main highlight is the earth-shaking romp through Corea's up-tempo Latin groove "La Fiesta", with the pianist conjuring images of Barcelona table dances and Getz pouring on the fire with a fresh new vigor. Some of Getz' subsequent electric albums (such as "Children of the World" on Columbia) were sodden, meandering efforts with few stimulating moments, but "Captain Marvel" documents a great band with the tenorman on the threshold of new discoveries. A must-have."

"There is so much to be said about Getz' achievment but all of it would be misunderstood. The only way to truly understand and to expirience this is by listening to this fantastic cd. It is a incredibly rare treart to know of this cd. So get it! Be part of the elite in taste!"

"With the advent of YouTube there is some live footage of this band at Montreaux in '72. It is blazing with energy, and for anyone who loves Tony Williams or Chick Corea from that era it's a must see, just as this record is a must have. How will it fare with traditional Getz lovers? Probably low unless you love high octane, balls-out, fusion blowing. Indeed, Getz wanted to get in on the fusion thing that was happening all around him, and he picked the very best players to do it with. Mutual admiration society here I imagine. A great record for fusion buffs but probably a pass for Getz lovers who want his romantic, sensitive, nuance-filled playing. I know Getz's work in its usual context, and I don't think this is as bad as one reviewer does, but it IS largely a fusion record. As such, be forewarned. But if you love Tony and Chick, you're in for a real treat that many missed when it first came out."

"A wicked album that's one of Getz's best from the 70s! The record features Getz reunited with Chick Corea, whose warm lyricism was the lynchpin in Getz's landmark Sweet Rain, the stunning session from 1968 that is perhaps our favorite-ever Getz album. Corea plays electric piano here, but with none of the indulgence that he was lapsing into at the time. His blocky chords stake out a stark new territory, into which Getz solos beautifully, into a range yet untapped at that time in his career. Tony Williams augments the group on drums, giving the whole thing a sense of freedom, but also a nice tight swing."


Credits: Bass - Ron Crotty (tracks: 08 to 12) , Teddy Kotick (tracks: 01 to 07) Drums - Joe Dodge (tracks: 08 to 12) , Tiny Kahn (tracks: 01 to 07) Guitar - Jimmy Raney (tracks: 01 to 07) Piano - Al Haig (tracks: 01 to 07) , Dave Brubeck (tracks: 08 to 12) Saxophone [Altosax] - Paul Desmond (tracks: 08 to 12) Saxophone [Tenor] - Stan Getz (tracks: 01 to 07)


01 Hershey bar
02 Rubberneck
03 Signal
04 Everything happens to me
05 Jumping with symphony sid
06 Yesterdays
07 Budo
08 I'll never smile again
09 Laura
10 Lullaby in rhythm
11 For all we know
12 All the things you are

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Ron Carter BassRichard Davis BassElvin Jones Drums
Produced by Creed Taylor.

Seclections 1, 2, 3, 7, 8, and 11 recorded May 6, 1964 at Rudy Van Gelder's in Englewood Cliffs, N.J. Selections 4, 5, 6, 9, and 10 recorded May 5, 1964 at Rudy Van Gelder's in Englewood Cliffs, N.J.


01 Night and Day
02 But Beautiful
03 Funkallero
04 My Heart Stood Still
05 Melinda
06 Grandfather's Waltz
07 Carpetbagger's Theme
08 Wnew (Theme Song) (Previously Unreleased)
09 My Heart Stood Still (Alternate Take-Previously Unreleased)
10 Grandfather's Waltz (Alternate Take-Previously Unreleased)
11 Night and Day (Alternate Take-Previously Unreleased)

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When, in early May, 1964, tenor saxophonist Stan Getz and pianist-composer Bill Evans finally got together for what would be their only studio encounter, one might well have expected that they would produce something quite different from the bracing music herein. Getz (b. 1927) and Evans (1929-1980) were, after Miles Davis (Evans' former leader and a onetime Getz colleague), the great romantic improvisers of the post-War era. Instead of a session that suggested Wordsworth and Coleridge exchanging verses by the fire, Getz and Evans made like a couple of Whitmans. For with the exception of the ballad "But Beautiful", which is just that and more, the prevailing mood is celebratory. Indeed, Stan and Bill all but part hearty.

"Excellent 60s work by Stan Getz -- recorded in 1964, but not issued at the time, thanks to a flurry of bossa nova craziness! The set's some of Getz's best straight jazz of the 60s -- played in a perfectly matched quartet with Bill Evans on piano, a perfect choice for Getz's lyrical soulful tone at the time. The set features tracks from the original LP -- including "Funkallero", "Melinda", "Grandfather's Waltz", and "Night & Day" -- plus alternate versions, and the unissued tunes "WNEW Theme" and "Carpetbagger's Theme"."


Bill Evans piano/Stan Getz tenor sax (1-8)/Eddie Gomez bass/Marty Morell drums

(1,2,9,10)recorded Aug.9, 1974 at the Singer Concertzaal by Nederlandse Omroepprogramma Stichting (NOS) Jazz Festival in Laren, Hollandrecorded by Tinus Bruyn and Cees van der Gragtproduced by Joop de Roo for NOS
(3.-8.)recorded August 16, 1974 at Middelheim in Antwerp, Belgium by Radiodiffusion Belgie in cooperation with BRTN/VARrecorded for broadcast for Radio 1


01 Grandfather's Waltz
02 Stan's Blues
03 But Beautiful
04 Emily
05 Lover Man
06 Funkallero
07 The Peacocks
08 You And The Night And The Music
09 See-Saw
10 The Two Lonely People

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"This is the second and most successful of the recorded musical meetings between two giants. The first was a 1964 studio session that, for various reasons, didn't click; "But Beautiful," on the other hand, is a 1974 European concert recording kept in the vaults until 1995. It's a strong outing by Getz (don't be thrown by previous reviews) but a rather tentative, uneven offering on Bill's part. There's some extra-musical drama unfolding during the concert. Bill was miffed when Stan, despite earlier assurances, launched into an unannounced, unrehearsed blues, "Stan's Blues," for the second number of the set. As a result, he sat impassively at the piano, refusing to play and even forbidding Eddie Gomez to take a bass solo. Under the circumstances, Getz carries on practically heroically, taking the tune entirely upon his own shoulders and submitting a series of inventive, grooving choruses in F. The next tune is "But Beautiful," and Bill does something I've never heard him do on record: he loses track of the chord progression for the last eight bars of the song during Getz' solo!After this halting beginning, the foursome settles down, with Bill's trio turning in an uncharacteristically swinging, straightahead set behind the irrepressible Stan, especially on a driving "Funkallero." Then immediately following "The Peacocks" Stan more than makes amends to Bill, offering him a big bouquet of musical roses in the form of an unaccompanied "Happy Birthday" (it was the day of Bill's 44th).If you're new to Stan, this set certainly offers far more of his tenor mastery than the Verve samba recordings. There's also some good Evans, though the playing by Bill or for that matter his trio is frequently more suggestive of his bop-oriented musical approach before 1959. And contrary to a previous reviewer's recommendations, the best Evans is not on Verve (Bill himself faulted the sound engineering of Rudy Van Gelder). Go to the early Riversides ("Sunday at the Village Vanguard") and the late Fantasies ("The Paris Concert")."

"Bill Evans preferred to play with a trio, usually with the string bass acting like a lead instrument, but he did a few spectacular recordings with larger ensembles like this and , of course, Miles Davis, especially "Kind of Blue". The ego-trips and the racism he encountered there turned him off to larger groups (see "Bill Evans: How My Heart Sings"). This is a tantalizing example of what he would have sounded like in a group where he was on equal footing with a sax. It's a shame he didn't play more in a larger band! The CD starts with an early minor musical disagreement, Stan launches into an unplanned "Stan's Blues", Bill shakes his head and the rest of the group just stops and leaves Stan playing mostly alone. But the rest is happier, Stan plays "Happy Birthday" for Bill and they make up and the two most sensitive and warmest leaders of the "Cool School" put together a great concert.Standout songs are the title track "But Beautiful", "Emily" and "Lover Man".There is another less fortunate Stan Getz/Bill Evans encounter on Verve. The less said about that one, the better."


Stan Getz (ts) Jimmie Rowles (p, vo) Buster Williams (b -7/11) Elvin Jones (d -7/11) Beverly Getz, Jon Hendricks, Judy Hendricks, Michele Hendricks (vo -11)


01 I'll Never Be The Same
02 Lester Left Town
03 Body And Soul
04 What Am I Here For?
05 Serenade To Sweden
06 The Chess Players
07 The Peacocks
08 My Buddy
09 The Hour Of Parting
10 Rose Marie
11 This Is All I Ask
12 Skylark
13 Mosaic/Would You Like To Take A Walk

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Tenor saxophonist Stan Getz's career as a producer for Sony Music came late in his overall career as a sometimes-troubled jazz veteran. The odd thing is that his personal troubles, of which there were some real doozies, never seemed to disrupt the music. And his second outing as a producer features some of the most unshakably calm stuff in his oeuvre. Getz's intent on Peacocks was to bring the underappreciated Jimmy Rowles to the fore, allowing the pianist to shine with his remarkable, long-lasting sense of balladry and seasoned, rough, romantic voice. Together, Rowles and Getz shine on several duets, including the wondrous, low-key swing of "What Am I Here For?" and the sublime flow of Rowles's "The Peacocks." It's not all butter, though, as Getz calls on drummer Elvin Jones and bassist Buster Williams to create a strong, supple quartet on a pair of Wayne Shorter numbers, "Lester Left Town" and "The Chess Players." The latter tune features Jon, Judy, and Michelle Hendricks along with Beverly Getz. Rowles knocks off a couple solo tracks, both showing off his reach--from swing era and Tin Pan Alley phrasing to hints of more daring execution. Through it all, though, Getz plays his heart out, milking every phrase for its musical core and the breathy shell just around the tone. It's a magnificent display, top to bottom. --Andrew Bartlett

"This is a wonderful record, and anyone who is a fan of Stan Getz will enjoy his excellent playing here, with great company -- Jimmy Rowles, an idiosyncratic and charming pianist who was somewhat underappreciated because he spent most of his career on the west coast, and the greats Buster Williams and Elvin Jones. A couple of performances here are real classics -- especially "The Peacocks", a beautiful tune which was also performed by some other fine musicians for the soundtrack of the film "Round Midnight." My only quibble is the Jon Hendricks vocal additions on two tunes -- he transcribed two of Getz's improvised solos and overdubbed sung versions of the solos later, so it sounds like Getz and the singers are improvising together. I find the effect weird. And especially on this GREAT performance of Wayner Shorter's "The Chess Players" (why is this incredibly swinging tune not played more often?) I dearly wish I could hear it without the voices. If anyone from Columbia happens to read this -- there are many of us fans out here waiting for a re-release of this album with a bonus track WITHOUT the voices. What heaven that would be."

"This title has always been a jazz ballad hallmark, hailed by the '70s and '80s jazz critics, but now largely forgotten. Rowles' relaxed style allows Getz and company to stretch out and explore the songs. "The Peacocks" is a minor key blues ballad that allows Getz to express his trademark mournful style. Lester Left Town is a classic Shorter hard bop song, and is a sample of the rich variety the bop composition could contain. (The other classic Shorter composition, the Chess Players, adds strange lyrics which have nothing to do with chess). Hasn't dated one bit!!!"


Stan Getz (ts) Al Dailey (p) Joao Gilberto (g, vo, per) Oscar Castro-Neves (g, arr) Clint Houston, Steve Swallow (b) Billy Hart, Grady Tate (d) Ray Armando, Rubens Bassini, Sonny Carr, Airto Moreira (per) Heloisa Buarque DeHollanda (vo) NYC, May 21, 1975


01 Double Rainbow
02 Aguas De Marco (Waters Of March)
03 Ligia
04 Falsa Bahiana
05 Retrato En Branco E Prieto (Picture In Black And White)
06 Izaura (You Know I Just Shouldn't Stay)
07 Eu Vim Da Bahia
08 Joao Marcello
09 E Preciso Perdoar
10 Just One Of Those Things

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"For lovers of the sweet, gentle and romantic rhythms of bossa-nova, with the masters: saxophonist, Stan Getz and singer & guitarist, Joao Gilberto, who started all the trend, back in 1964, with "The Girl of Ipanema" et al. This album is very good, in the tradition of Getz and Gilberto's landmark albums of the `60s, but perhaps in a "softer" vein.Also featured (uncredited in her début) is brazilian singer, Heloisa Buarque deHollanda, better known in her country as "Miucha", who's Joao Gilberto's second wife (his first was Astrud Gilberto), Bebel Gilberto's mother and Chico Buarque's sister. After this album, she's appeared in two albums with Antonio Carlos Jobim, among others."

"After "Getz/Gilberto" the second best selling Jazz album of all time behind "Kind of Blue", the record companies were anxious for another golden egg. However this is one of the worst periods in Stan Getz life, the 70's. Personal problems, and he was locked in the the bitterest divorce case in history, went to the Supreme Court! Things added to his orange juice... Joao Gilberto also has a good reason to have a grudge against Getz but it doesn't show here, he is as mellow as usual. A trooper. His singing and guitar & Heloise hold the day, while Getz pretty much phones it in. What's good on this album comes from him. For better Getz, pick any other decade or his life. For some reason all of the Getz Columia recordings are really bass thin and harsh. This one is less so, but no exception."

"The more I read these reviews, the more I am certain I am surrounded by complete fools - just pay attention to these reviewers: one comes from Chile stating that S.G. and J.G started the bossa nova trend in 1964 !! (go do some history homework, mate...), another one comes from Texas - well...Anyway, my advice: AVOID THIS ALBUM LIKE THE PLAGUE! Stan Getz's production is absolutely dreadful, everything sounds 'muddy', lifeless; João Gilberto's playing and singing is way below average - he's horrible, actually, so much that he himself hated the album -, in short, this album is really a shame because it could have been THE ALBUM, but it just isn't. Shame on Getz, mainly, and then on João Gilberto.In other words: if you like the expertise of Grady Tate's brilliant technical drumming, or Airto's palette of colourful sounds - forget it, for you're not going to be able to listen to them - have yourself a listen to the samples...One final statement: the very cover photograph of the album is a make-up - they joined a J.G. photo to the one with S.G., just to give you an idea of how things worked out on the album... "

"I've probably listened to this album more times than any other over the years. It was my introduction to the wonderful "Waters of March," which has since become more popular. I love the fact that the album contains lesser known but great Jobim tunes. Also, I'm a saxophonist, and the more I listen to Stan Getz's solos, the more I realize that they're perfectly constructed gems of melodic development - no running the chord changes here. His building of a solo is really an education: so personal, lyrical yet tough, his pace, use of dynamics, dramatic rises and falls. This is my favorite Brazilian/jazz album. Get it, you'll love it. By the way, this CD production could be improved - no personnel are listed, for one, unlike the original LP."

"A wonderful return ot the sounds of Brazil for Stan Getz -- a 70s album that reunites him with Joao Gilberto, but in a style that's somewhat different than the pair's older Verve recordings! The sound here is looser, freer -- more in that breezy Brazilian mode that evolved out of the initial bossa years -- and Stan's tenor sounds great in the setting, with those loose yet heartfelt lines we love so much from this period! Joao's great too -- somehow even more "present" on the record than before, with that amazing ability to do so much with so little -- as on some of his own great 70s recordings. Miucha contributes some English language vocals to the record alongside Joao's Portuguese ones, and Oscar Castro Neves handled the arrangements with a nicely stripped-down style that has plenty of focus on the percussion and rhythms."

CYBILL SHEPHERD - Mad About The Boy (1976)

Frank Rosolino (tb) Mike Altschul, Andreas Kostelas, Arthur Smith, Richard Spencer (fl) Stan Getz (ts) Terry Trotter (p) Oscar Castro-Neves (g, key, arr) Monty Budwig (b) Octavio Bailly (fender b) Joey Baron (d) Paulinho Da Costa (per) Cybill Shepherd (vo) Helder Studios, Hollywood, CA, May 5, 6, 8 & 9, 1976


01 Triste
02 I Can't Get Started
03 Please Don't Talk About Me When I'm Gone
04 This Masquerade
05 Mad About the Boy
06 I'm Old Fashioned
07 It Never Entered My Mind
08 Speak Low
09 I'm Falling in Love Again
10 Do It Again

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"This album is a total work of genius, maybe the best thing Cybill Shepherd ever did -- and a lot better than her later albums which are ok but a little harsh. This was recorded in Memphis with Stan Getz, who really got how Cybill's perfect off-key, somewhat flat voice was perfectly suited to jazz -- and he used what often sounds like a flaw to amazing advantage. The soft, moody orchestration is just gorgeous -- he must have been in love with her to devote such care to this album. Every track is great -- among the best versions of any of these standards."

"As with most reviews I write, I am going to skip on reviewing the musical quality of the album. I enjoyed it very much and I think it's an underrated album. If I recall correctly, this was one of Stan Getz last gigs before he did. Anyway, per this Japanese reissue, it is fantastic. I don't own the old Japanese CD or the vinyl so I can't compare. However, I must say this CD sounds fantastic. The CD is free of pops, clicks, hiss, noise reduction (as far as I can tell) and sounds very enigmatic of what I imagine it did when it was recorded. Also, it comes in a nice mini-LP sleeve which reproduces the original art. I prefer these to jewel cases for their novelty value but also because most music existed before the CD era. Most CD reissues have little in the way of original artwork and so forth. This mini-LP sleeve is high quality and not flimsy/cheap. Amazon's price is high but I think if you like the album, or are curious about Cybill's singing ability (which is not bad and fits well with Getz's arrangements), your best bet is to get this issue before it goes out of print. As with most Japanese mini-LP reissues, they eventually become unavailable. Must buy for vocal jazz fans!"

MORT D'UN POURRI (1977) (Soundtarck) with PHILIPPE SARDE

Stan Getz (ts) Andy LaVerne (p) Rick Laid (b) Billy Hart (d) Efrain Toro (per) The London Symphony Orchestra Paris, France, October 20, 1977


01 Paris 5 H Du Matin
02 Souvenirs
03 Valerie
04 Les Camions
05 L'Attente
06 Getz O Mania
07 Mort D'un Pourri
08 Montparnasse
09 Cafeteria
10 Les Aveux
11 Pocquencourt
12 Tour Est Tranquille

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"A lost jazzy gem -- featuring solo work by the great Stan Getz! The soundtrack is one of Philippe Sarde's greatest of the 70s -- warm and mellow, with a dark edge that's fitting for the moody Georges Lautner film that accompanied it. But the real treat here is Getz -- who solos with that freely exploratory tone that he brought to some of his best later recordings -- a style started with the classic Sweet Rain, and brought into play on the Dynasty and Captain Marvel albums, both of which were some of his greatest work of later years. Tracks are shortish, and Getz plays with an urgency that's missing from many other 70s sides -- and titles include "Solitude", "Valerie", "Dans Le Regard D'Alain Delon", "Paris Cinq Heures Du Matin", and "Tout Est Tranquille". CD also features 2 tracks from the soundtrack to the film Est-Ce Bien Raisonnable, from 1981."


Stan Getz (ts) Andy LaVerne (key) Mike Richmond (b) Billy Hart (d) Efrain Toro (per)


01 Pretty City
02 Keep Dreaming
03 Sabra
04 Anna
05 Another World
06 Sum Sum
07 Willow Weep For Me
08 Blu Serge
09 Brave Little Pernille
10 Club 7 And Other Wild Places

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"I guess that everything Getz ever recorded is first class stuff, so it is indeed difficult to rate any of this records with less than five stars. It's a pity that this one is unavailable on CD (I have a French CD release, as well as the original US LP edition) because I find it a must in Getz's discography, precisely because of the title tune "Another World", where we find him experimenting with the electronic delay provided by an Echoplex device. In the liner notes, Stan Getz tells us about how he was amazed with the possibilities opened by that this new electronic world. Unfortunately, no mater how much he enjoyed this experiment, it was the only one of this kind that he ever recorded, as far as I know. Only this theme would be reason enough to recommend this record, and this is why I find that this recording deserves a special place in Getz's discography. Besides, all the other tunes are simply Getz at his best. Just another five star Getz record...!"

"Some of the material is wonderful, flowing Getz doing what he did best, some isn't the Getz I'm used to. Great sounds but definitely "counter culture" influenced. Nice to hear the experimentation with electronics. "Pretty City", "Keep Dreaming" and "Another World" get a little spacey. Other tunes like "Sum Sum" and "Willow Weep For Me" are jazzy, cool Getz. Fine stuff altogether. Note, actually procured and listened to the original LP recording of this release."


Stan Getz (ts, echo-plex) Andy LaVerne (p, key) Lalo Schifrin (p, arr) Mike Long, Clark Spangler (syn) Dennis Budimir, Paul Jackson, Tim May (g) Stanley Clarke, Abe Laboriel (el-b) Victor Jones (d) Larry Bunker, Paulinho Da Costa, Steve Forman, Joe Porcaro, Bob Zimmitti (per) Marc Bell, Douglas Colvin, John Cummings, Tommy Erdelyi, Jeff Hyman, Richie Reinhardt, Christopher Joseph Ward (vo -5)


01 Don't Cry for Me Argentina
02 Children of the World
03 Livin' It Up
04 Street Tattoo
05 Hopscotch
06 On Rainy Afternoons
07 You, Me and the Spring
08 Summer Poem
09 Dreamer
10 Around the Day in Eighty Worlds

Link to download:

"How come this album can be out of print? Stan Getz playing with Lalo Schifrin on Keyboards, Stanley Clarke and Abraham Laboriel on Bass? A cover painted by Charles M. Schulz showing Snoopy on sax and Schroeder on the toy piano? Come on, Sony Music, you can do so much better!"

"This is one of the smoothest albums. Street Tatoo is my favorite. I agree with Mr. Moreno from S.F. Ca. I myself am a S.F. Ca. native. Is this just a California thing. Come on Sony, you are late and wrong for not having this on CD. I hope the word (Getz) around so that this album by Stan Getz can be put on CD. Whoever submitted the cover art, I thank you."


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