Saturday, January 05, 2008

STAN GETZ Part 4. in the 80's

" The saxophone is an imperfect instrument, especially the tenor and soprano, as far as intonation goes. The challenge is to sing on an imperfect instrument that is outside of your body. " (Stan Getz)

"" A good quartet is like a good conversation among friends interacting to each other's ideas. " (Stan Getz)


Stan Getz (ts) Lou Levy (p) Monty Budwig (b) Victor Lewis (d)


01 The Dolphin
02 A Time For Love
03 Joy Spring
04 My Old Flame
05 The Night Has A Thousand Eyes
06 Close Enough For Love

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"After years of playing Bossa Nova, his misadventures in Fusion, and flirtations with avant-garde in the 70's, Stan decided he was "willing to play what people wanted but he wasn't willing to wear costumes and silly paper party hats" or words to that effect. He returned to what he did best. Concord let him play what HE wanted.
This is the upbeat half of a live concert. (CD "Spring is Here" contains the ballads and swing songs half, although the songs are more evenly divided than on The other excellent Concord live releases "Pure Getz" and "Blue Sky").
A state-of-the-art recording, an excellent side group. Stan is in top form, free of drugs and booze. He is here more emotional and less cool. Mainstream straight ahead jazz (no bossa nova).
Stanley the Steamer cooks along.
Approved and released by Stan while he was alive. "

"This 1981 disc catches Getz entering his final phase, setting fusion and bossa largely behind him & concentrating on making lovely music out of the traditional tenor-plus-rhythm quartet. The title-track is a tune by Brazillian composer Luiz Eca, given a relaxed (almost 10-minute) reading; there are readings of two Johnny Mandel tunes, "A Time for Love" & "Close Enough for Love" (the latter my favourite track here), the old standard "My Old Flame", & a couple boppier numbers: Clifford Brown's "Joy Spring" & a reading of "The Night Has a Thousand Eyes" which pays homage to Bud Powell (rather than Coltrane, whose version of the tune tends to weigh heavily on most covers of it I've heard). The hardworking, underrecognized pianist Lou Levy plays beautifully throughout the album, there's excellent support from bassist Monty Budwig & drummer Victor Lewis, & Getz's murmurous sound is well caught by the very good live recording. What's not to like? "

""The Dolphin" was recorded at the Keystone Korner, a small club in San Francisco, which resulted in one of Getz' greatest live records. The intimate atmosphere of the club and the added benefit of a well rehearsed, highly imaginative quartet at his side let Getz excel on the six tunes that are collected here. "The Dolphin" is the inevitable reminder of his Bossa Nova days, but it sounds as fresh and lively as if Getz had begun his love affair with Brazilian music only yesterday. Pianist Lou Levy, who had worked with Getz for more than 30 years when they made the record, is one of the best pianists Getz ever had, and I was utterly absorbed by his solo on "The Dolphin". Ballads ("A Time for Love", "My Old Flame") and up tempo tunes ("Joy Spring", "The Night Has a Thousand Eyes") are both present on the record, and it is difficult not end up in stereotypes describing them. Let's say that it will be highly difficult not to like them. A good record for any occasion, but if you happen to have a beach and cool drink handy, sit down and relax with a superb record of an artist who "believes in the power of beauty, instead of finding beauty in power", as Leonard Feather put it. "


Stan Getz (tenor saxophone); Lou Levy (piano); Monty Budwig (bass); Victor Lewis (drums).Recorded live at Keystone Korner, San Francisco, California in May 1981


01 How About You
02 You're Blase
03 Easy Living
04 Sweet Lorraine
05 Old Devil Moon
06 I'm Old Fashioned
07 Spring Is Here

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"The ballad half of the live concert "Dolphin". Stan is in top form, with excellent side men. Contains straight-ahead Mainstream Jazz, no Bossa Nova. I like this a little better than Dolphin but both are great. Songs are a little melancholy, but Stan is at his best here.Stan Getz, according to his biography, is here free of drugs at last. He is lyrical as always, but now less cool and more emotionally expressive, while never sounding harsh and abrasive like Coltrane. Each note is beautiful. Melted butter.Blue fog pours out of the sax and hangs in the air! Listen on a single-ended triode! One of the best of the posthumous CD's. Thanks to his son Steve Getz for finding and releasing it.Recording quality is state-of-the art."

"This is a great recording.The band is first rate and sounds it! The tunes are all beautiful & the sound quality is very good.Lou Levy does an excellent job with "I'm Old Fashioned" as well as everything else.The rest of the rhythm section is excellent as well.Highly recommended. (VLS) "


"Be There Then"

Stan Getz (ss, ts) Mitchel Forman (key) Chuck Loeb (g) Mark Egan (b) Victor Lewis (d) Bobby Thomas (per)


01 Hospitality Creek
02 Anytime Tomorrow
03 Be There Then
04 Billy Highstreet Samba
05 Dirge
06 Page Two
07 Body and Soul
08 Tuesday Next

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"This album was dedicated to Getz's personel manager, a fine fellow I'm sure-named Billy Highstreet. Sounds like an American Indian name! It was 1980 and soon Steve Getz, Stan's son became personel manager and remains even today as a guardian of Stan's venerable body of work. As even a Jazz Superstar like Getz was, artists must be exposed to the currents of newer trends. So, using a very talented pianist and a guitarist-Chuck Loeb, Getz plays his own vision of the "fusion" style so present in the early 80's. And he performs this music beautifully and with ease and of course more "prettiness" than most anyone else could. He even includes a lovely ballad-Body and Soul, and plays some soprano sax! A great artist like Getz could never lose his sweet "sound" no matter how times changed, we should be thrilled that we still can enjoy his work. If you are a fan, and you appreciate the first class treatment Verve always gives art you will be happy to own this recording."

"Stan Getz European road manager was Bill Hoogstraten. One day Stan said, "Let's see, Hoogstraten, doesn't that mean 'High Street'"? Stan thought this was quite amusing, being often on High Street himself, so Stan collaborated on a Samba named for him. But 'Billy Highstreet Samba' is not really a samba, more nearly Rock Fusion. Stan participated in a number of forgetable Fusion efforts in the 70's, to show he could play anything au courant, before his comeback in the 80's. Then, on his next Concord albums, he decided to change and play only what he was good at - his own straight-ahead mainstream style of Jazz, more involved versions of the same type of music he'd played in the '50's. Of all of his Fusion flounderings, this is the most listenable. The better Getz pieces on this CD are, as usual, the slower, introspective ones like Chuck Loeb's "Be There Then", "Dirge" and the standard "Body and Soul". But, overall, there is also too much Fusion here; the sidemen meander, do their own thing, oblivious, while Stan tries to look for a place to make his statement in his idiom. This will not replace Getz Cool, aloof work in the '40's thru '60's in anyone's heart. Nor will it replace his marvelous Cool (with emotions) comeback in the '80's, but it it the best album of the lost Fusion years"
"During a period when Stan Getz was recording purely straightahead jazz for Concord, he joined up with keyboardist Mitchel Forman, guitarist Chuck Loeb, bassist Mark Egan, drummer Victor Lewis and percussionist Bobby Thomas, Jr., for this obscure session in France. First released in the U.S. in 1990, this finds the veteran tenor playing "contemporary" jazz, doing a good job of fitting into five Loeb and two Forman originals plus "Body and Soul." Not essential music but a fine example of Getz's flexibility and creative instincts." ~ Scott Yanow, All Music Guide

PURE GETZ (1982)

Stan Getz (ts) Jim McNeely (p) Marc Johnson (b) Victor Lewis (d) Billy Hart (d)


01 On The Up And Up
02 Blood Count
03 Very Early
04 Sipping At Bell's
05 I Wish I Knew
06 Come Rain Or Come Shine
07 Tempus Fugit

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"An excellent performance from Stan's late period. The companion to "Blue Skies". The first of the set to be released. The CD starts and ends very fast with the slower tunes in the middle. "Sipping at Bell's" and "Blood Count" I like the best. Balanced between ballads, swing, and bebop tracks. Technically ravishing recording. At this point in his career Stan is less "Cool", more emotional but his tone is beautiful as ever. 3& 1/2 to 4 stars for a performance that rivals the best stuff Stan Getz ever did."

"I just can't believe that I am the first person to review an album issued in 1982. And frankly, post-bop standards don't come any better than this. Yes, there are a few "Samba" and latin collaborations that this artist is better recognized for. But this one doesn't take the back seat to any of those in any way. The combo of McNeely(piano)/Johnson(bass)/Hart or Lewis (drums) form a perfect (read well stretched) canvas for Mr.Getz to paint on. "Tempus Fugit" swings with passion. "Blood Count" showcases the (controlled) lyrical ability of Stan's horn. It's tough to pick out a bad track on this album.For me, this is Getz at his best. Anyone who likes jazz standards played at the highest level of quality, this is a must for your collection."


Stan Getz (ts) Jim McNeely (p) Marc Johnson (b) Victor Lewis (d)


01 Spring Is Here
02 Antigny
03 Easy Living
04 There We Go
05 Blue Skies
06 How Long Has This Been Going On?

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"What was Concord thinking? They sat on this disc for 13, as in THIRTEEN, years. Recorded in 1982 and not released until 1995, this ranks as one of Getz's finest recordings. All the trademark Getz pleasures reside within its grooves: the burnished tone; beauty sans sentimentality; ravishing lyricism (certainly one of his most lyrical discs ever); brilliant group interplay. Indeed, this is one of his very best bands. Jim McNeely, a pianist who has never received his due, seems the perfect partner for Getz. His solo on "Antigny," moving effortlessly and beguilingly between the classical and jazz worlds, simply astounds. And he can get downright bloozy, as well (check out his solo on "Easy Living"). Marc Johnson, who played in Bill Evans's last trio, lends both grit and fluidity, as well as a charming modernism, to the proceedings. Billy Hart, a drummer of both huge accomplishment and consummate taste, complements the other players magnificently. If falling just short of the Barron/Mraz/Lewis configuration on Bossas and Ballads, this is nevertheless one of the finer units to every play jazz together. If ever a disc deserved five stars, it is this one. "

"One of my all time favorite Getz albums, for what that's worth. Very high on the list!

"Antigny" is VERY sad, like an eligy. "Spring is Here" is melancholy and wistful but played with an inner peace. "Easy Living" is warm. "There we go" is the only complex upbeat tune. The title track is playful. This is the ballad half of the "Pure Getz" concert (I think this is the much better half, despite it's delayed release). Mostly Standards Getz meshes well with other players in the band. Ensemble playing is as close to perfect as it gets. With a sense of effortless lightness. ROMANTIC, Smoky, Lyrical, Blue fog notes. Good for late night listening. Lyrical and melancholy. These Concord albums are rapidly going out of stock. Buy it while you can!!! Excellent recording quality. Highest recommendation! One of Stan's best posthumous releases. Wish I could change rating to 5 stars (or more)."

"Getz was already the grand old man of the tenor saxophone when he recorded this. His sound is beautiful and still unmistakable Stan. He's got nothing to prove and plays with a superior grace. Fair to say, after all these years, there are few surprises, but who needs them when he plays like this! The recording quality is excellent, the band plays superb and in particular Jim McNeely's piano playing is a delight (check out his solo on Antigny). It makes this "late evening-red wine-and-candellight" disc even more worthwhile ."


Stan Getz (ts) Jim McNeely (p) Marc Johnson (b) Victor Lewis (d) "New Morning Club", Paris, France, 1982


01 O Grande Amor
02 Blood Count
03 Airegin
04 Blue Skies
05 On The Up And Up
06 I Wanted To Say
07 Tempus Fugit

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POETRY (1983) with AL DAILEY

Stan Getz (ts) Al Dailey (p, comp) Shadowbrook Studio, Irvington NY, January 12, 1983


01 Confirmation
02 A Child Is Born
03 Tune-Up
04 Lover Man
05 A Night In Tunisia
06 Spring Can Really Hang You Up The Most
07 'Round About Midnight

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Japanese exclusive CD release for this out-of-print 1983 album featuring the great tenor saxophonist Stan Getz & pianist Albert Dailey. 2001 release. Standard jewel case.

"This CD hits you on the first track and does not let you go.I admit to having a weakness for jazz duets, be it a horn and a piano, or guitar and piano, or any other combination. This is right up my alley.The tunes are old chestnuts, wonderful to hear again. And the skills of these two departed giants are extraordinary."


Stan Getz (tenor saxophone); Chet Baker (vocals, trumpet); Jim McNeely (piano); George Mraz (bass); Victor Lewis (drums).
Stockholm, Sweden, February 18, 1983

CD 1.

01 Anouncement
02 Stablemates
03 We'll Be Together Again
04 On The Up And Up
05 How Long Has This Been Going On
06 O Grande Amor
07 Just Friends

CD 2.

01 My Funny Valentine
02 Sipping At Bell's
03 Stella By Starlight
04 Airegin
05 The Baggage Room Blues
06 We'll Be Together Again
07 I'll Remember April

CD 3.

01 Anouncement
02 Just Friends
03 My Funny Valentine
04 Sippin At Bell's
05 Blood Count
06 Milestones
07 Airegin
08 Dear Old Stockholm
09 Line For Lyons

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"When I first purchased this material way-back in the early '80s I didn't know what to make of it. I was a Getz fan but didn't know who this trumpet player was who played with him. I listened to it and immediately loved it, that is, until Chet began to sing. I said to myself, "Oh my God... that has to be the worst voice I've ever heard." It seemed comical to me, at the time. I recorded the entire LP and edited-out all Chet's singing.Fast-forward about five years; I was then in my mid-20s. I decided to give that LP a listen again, since it had been a few years since I last heard it. I had been exploring jazz quite heavily the previous five years and my tastes had changed.As expected, I loved the LP. Then Chet began to sing... I listened. On Just Friends he began to scat... I listened and for the first time I got it! I mean, I was totally blown away by his ideas. I looped his scatting, playing the solo over and over, digesting it and committing it to memory. I listened to jazz with the ear of a musician, since I had been taking jazz guitar at the time and was learning the art of the solo.What made Chet so great in his later years was his seasoned execution and mature building of solos. His solos are often built upon simplicity; the concept that "less is more." You'll notice he effectively uses space when soloing and throws-in lots of notes only when necessary. This use of space is difficult to use well. It's not something that's taught -- it's felt and is a gift to the most talented of musicians. Chet oozed talent. He didn't read music and had a golden ear. This can be heard when soloing, whether on trumpet or by voice.A few years back I saw this CD in the store and realized it was the complete concert series from that LP I purchased some 18 years earlier. I bought it and listened to the whole thing in one sitting. I thought it was fantastic! Stan and Chet sound great, as always, and the crowd is responsive and appreciative.The rhythm section is Stan Getz' regular touring group at the time. So, what we have here is the Stan Getz quartet with Chet Baker. The group is top-shelf: Jim McNeely (piano), George Mraz (bass), and Victor Lewis (drums).A high quality gatefold package is used to house the three CDs and the inside of the left fold contains a booklet with the story behind the music, reproductions of the hand-written set lists with timing indicators, lots of pictures of Stan and Chet in action, and even a letter to Getz regarding the performance. The material was originally released in part on two separate LPs. Both the original releases are shown towards the end of the booklet along with the complete liner notes.The concert series was faithfully recorded for posterity and wonderfully packaged for release. If you're a fan of great jazz, enjoy either Chet or Stan as musicians, this is a must-have!"

"A very problematic set. Soaring romantic ballads and happy swing tunes in places, unlistenable singing in others. All in all, much better than the new "Quintessential V.1" (Concord) CD with the same principals.Everyone thought Stan Getz and Chet Baker would make the ideal group, both associated with "Cool" jazz.
Unfortunately, they hated each other. Stan was off the drugs, at this point in his life and Chet continued to take them til the day he died.
Stan, the consumate professional, was almost always able to play sober or sound that way. After the 50's, Chet always seems high and incapable of singing on-key. According to the liner notes, Stan got so annoyed with Chet's intonation problems he told the producer "him or me" and stormed off.
The CD's are good when Stan plays (70% of the songs), unlistenable when Chet sings(20%). When they play together, it's a dog fight with Stan pushing the tempo's to lose Chet (10%).
Some of the Stan Getz only portion of this CD was available "The Stockholm Concert" on Gazell."


Chet Baker (tp) Stan Getz (ts) Jim McNeely (p) George Mraz (b) Victor Lewis (d) Stockholm, Sweden, February 18, 1983


01 Just Friends
02 Stella by Starlight
03 Airegin
04 My Funny Valentine
05 Milestones
06 Dear Old Stockholm
07 Line for Lyons

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Chet Baker (tp) Stan Getz (ts) Jim McNeely (p) George Mraz (b) Victor Lewis (d) Baerum, Norway, February 19, 1983


01 Intro Announcement
02 I'm Old Fashioned
03 Just Friends
04 Star Eyes
05 My Ideal
06 But Not For Me
07 Dizzy Atmosphere
08 Stablemates

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Fans of Chet Baker know that the trumpeter and vocalist's career is divided into two distinctly different periods: His elegantly minimalist 1950s work where he helped define the "cool jazz" sound of the period, and his later efforts that were maddeningly inconsistent. This aural document from his later years--recorded in Oslo in 1983--falls into the latter category, and it's a decidedly mixed bag. Baker's voice is, sadly, far from in its top form, and his vocal performances here on standards like "Just Friends" and "But Not For Me" show him straining. Still, there are plenty of reasons to like this live recording. Stan Getz himself is in fine form throughout, his tenor saxophone tone still as rich and full-bodied as ever (especially on his gorgeous opening solo on "I'm Old Fashioned"), and his backing group (Jim McNeely on piano, George Mraz on bass and Victor Lewis on drums) swings superbly. Baker's trumpet playing was also in much finer form than his voice, and during his better moments here--as on his interplay with Getz on a lovely version of "Star Eyes"--a bit of his old self shines through. --Ezra Gale

"Chet Baker is too intoxicated to sing or play on-key. The cover picture will show that Stan is either bored or VERY angry and having to be on stage with this doper. The newly released Stan & Chet in Stockholm is much better, at least Stan's part is."

"Even if Chet Baker has a few downs throughout, both Stan and Chet bring together a wonderful mix. Getz's opening solo on the first track is, by far, his BEST ever! This CD is worth that track. Again - his BEST solo ever. Listen to it over and over - you'll agree that's it's flawless and moving!"

"My two favorite jazz musicians are Chet Baker and Stan Getz. They played their music with such style and coolness that really sets quite an atmosphere. This CD is one of those albums that satisfies and disapoints at the same time. Getz's solo opening on "I'm Old Fashioned" is probably one of his best latter day solos. Baker's voice is really shaky and the fact that he attempts to Mel Torme (Skat sing) his way through some of the songs when he should of been playing the trumpet is quite annoying. He does manage some good trumpet work though throughout the CD. Getz really does a good job with his solos but Baker, sadly, doesn't shine so well on the album. For some really good performances with these two in their prime get the "Stan Meets Chet" album or "West Coast Live". This album is just for the big fans of the two musicians."


Chet Baker (tp -1,3,5/7) Stan Getz (ts) Jim McNeely (p) George Mraz (b) Victor Lewis (d) Baerum, Norway, February 19, 1983


01 Conception
02 We'll Be Together Again
03 I'll Remember April
04 Blood Count
05 It's You Or No One
06 Airegin
07 Line For Lyons

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The followup to Quintessence, Volume 1 documents more of Stan Getz and Chet Baker's February 1983 concert in Norway. Fortunately, the Norwegian Broadcasting Company recorded the reunion of these two lyrical, instrumental voices. Both men, in particular the hard-living Baker, were well past their primes at this point, yet each still had enough left, both in terms of technique and of having something to say, to make this an essential recording for fans. For those new to either man's work, however, there are many better records to start with. Still, this polite and well-played seven-song set, which includes tunes by Sonny Rollins ("Airegin"), Billy Strayhorn ("Blood Count"), and Jule Styne-Sammy Cahn ("You or No One"), and which contains nary a word of between-song patter, has many moments where Getz's famous "lovely" and lyrical tone is undeniably gorgeous. Baker, to his credit, makes the most of his solo spaces, his diffident, Miles Davis-influenced lines providing a good foil for Getz's more aggressive exhortations. The interplay between the two on tunes like "I'll Remember April" is predictably cool and airy, but also a great deal weaker in tone and ideas than it might have been a decade or two earlier. For those golden moments, try the two-CD West Coast Live. --Robert Baird

"This music is too late in the careers of either of the principals to live up to the title of the album, which nonetheless contains some extraordinary playing. "I'll Remember April," one of the best tunes in the American Songbook, has a tendency to limit freedom somewhat because of its insistent, programmatic chord structure. Not so here. In fact, this is a version I'm ranking up there with the Erroll Garner and Clifford Brown-Sonny Rollins recordings of the tune, maybe even higher. Getz lives up to expectations, and Chet beyond them. He's so free and "at home" with the tune that you'd think he was playing on blues changes or a single mode. Not a note is out of place. Nothing is wasted, yet nothing is missed. Somehow he manages to account for every harmonic turn without the least trace of "running the changes." Sublime and exemplary playing by a legend who even at this stage in his career could show he was capable of outdoing himself."

"Nine years or so after Getz death and a decade or more after Baker's we are reaching the bottom of their barrel of lost performances by these two lyrical Cool Jazz Giants. Somewhat better than Quintessence 1, in that the Baker, who seemed in Q1 to be so intoxicated as to be unable to sing on-key, DOESN'T sing here. (don't get me wrong, I like Baker's early singing)Playing by both seems pleasant and workmanlike but occationally oddly unemotional, burned out and effete, but not necesarily cool. Not either man's best efforts, but not their worst. I notice than Concord has not seen fit to provide samples of the sound. Getz arabesque treatment of "Blood Count" stands out, he has played this on many records and it's always intreguing, he never seems to play a song the same way twice. It's a wonder his band was able to so closely follow his ever-changing direction! Stan always seems to know when to play the melodic line and when to improvise. "Conception" which appears on this CD was last recorded by Getz in the very early 50's, as far as I know. I hope Stan Getz son Steve will continue to try to discover lost Getz MY rating system, two & 1/2 ** means listenable but not equal to their best."

"I am surprised at the beating the Quintessence releases have received. Stan and his band are in fine form, so even without Chet Baker this would be a solid CD. True, Chet's contributions are minimal in parts but he gets plenty of opportunities to shine--and Getz rarely steps over him, as many have stated. Perhaps the knowledge of underlying tension between Getz and Baker cause many to not listen with an open mind. That would be a shame, since even though Getz/Baker were not a match made in heaven as it would have seemed, this release is a valuable document of a collaboration that would soon end--much to the dismay of this listener."

DIANE SCHUUR - Deedless (1984)

Stan Getz (ts) Dave Grusin (p, syn) Don Grusin (syn) Howard Roberts (g) Dan Dean (b) Moyres Lucas (d) Diane Schuur (vo)


01 The Very Thought Of You
02 New York State Of Mind
03 Teach Me Tonight
04 I'm Beginning To See The Light
05 I'll Close My Eyes
06 Reverend Lee
07 I'm Just Foolin' Myself
08 Rock Me On The Water
09 Can't Stop A Woman In Love
10 Amazing Grace

Link to download:

"You won't believe your ears! "I'll Close My Eyes" is masterful. "Teach Me Tonight" is a gorgeous classic. "New York State of Mind" has soulful style. "Reverend Lee" and "Can't Stop a Woman in Love are cookers! "Amazing Grace" will blow you away! Every cut is brilliant. She completely demonstrates her vocal range and ability to sing any and every style. Diane Shuur transends all culturals, her soul is deep, her voice is p-l-e-a-s-u-r-e. This CD is a must-have. "

"I never heard of Diane until she duetted with Barry Manilow on his 1987 release "Swing Street." I thought theirs was a great pairing, and I fell in love with Diane. I was somewhat limited in my collection space for cd's and the only album I owned of Diane's was "Collection" released two years after Barry's "Swing Street." I was in a small Cafe in Cincinnati, where I grew up and stayed until my late twenties, and I heard the familiar opening bars of "New York State Of Mind" someone had selected from the cd jukebox. I didn't really think anything of it, the song's been covered so many times. Then the voice I fell in love with started singing the opening lines, I stopped eating to listen to this song and beat myself up for not knowing of its existance. I went to the record store and small space be damned, bought the album (cd) the same day, and have been collecting ever since.
Diane was living and performing as a local artist in Seattle, Washington when she was discovered by Nancy Reagan. Diane, with her late mentor Stan Getz, performed at the White House and was signed to GRP shortly thereafter. To capture Diane's vocal at her most comfortable, the lead vocal and rhythm tracks were recorded in her home city, then flown to California for additional recording, mixing and mastering. The end result is the excellent debut album. Diane's vocal performane is flawless, the post production not overdone, the song selection perfect. "Teach Me Tonight" is reborn, the song reappears on "Collection." "New York State Of Mind" is second to the original and overlooked for "Collection," it's artistic integrity is vindicated due to its appearance on her "The Very Best Of." A favorite track is "I'll Close My Eyes." The synthesizer is clearly overdubbed to "fill out" the song, but it's not a distraction. Diane's vocal on this particular song is very intimate. "The Very Thought Of You," complete with soft, subdued strings, is a great opener. This album is a great opener for what's been, and is, a marvelous career for a marvelous singer."

"Diane Schuur is a very terrific singer. She can move from blues to gospel into jazz with the appearance that it is effortless for her to do so. She has a tremendous ability to belt out a song when necessary, but can also change into a torch singer and frankly some of her best work would have to be termed as jazz. She can pierce straight to the heart with a song like "Ill Close My Eyes." Diane Schuur is one of my favorites and i guess that explains why i am trying to collect all of her work. Diane has great taste in the selection of her arrangers, because the tunes she sings have been carefully selected and arranged so that she is showcased to her best advantage. I always eagerly look forward to any new album she has on the cd racks."

DIANE SCHUUR - Schuur Thing (1985)

Stan Getz (ts) Dave Grusin (key) Larry Williams (syn -1) Abe Laboriel (b -1) Chuck Domanico (b -2) Carlos Vega (d, per) Paulinho Da Costa (per -2) Diane Schuur (vo) NYC, 1984


01 Needle In A Haystack
02 By Design
03 Love Dance
04 Love You Back
05 Someday We'll All Be Free
06 It Don't Mean A Thing If It Ain't Got That Swing
07 American Wedding Song
08 Take Me To The River
09 Make A Plan
10 No Time For True Love
11 Sure Thing

Link to download:

"This is my favorite album from this artist. The amazing Diane Schuur is at her very best vocally. The songs on this fantastic CD are all gems from the first one to the last. This album is a real showcase for the world reknown Jazz superstar and you can clearly hear it in every note that comes out of her golden pipes. The legendary Jose Feliciano joins Diane for two duets in two of the album's great tracks they are "By Design and "American Wedding Song. Both songs are beautifully orchestrated and Feliciano and Schuur sound fantastic together.Two of my favorites besides the two that she and Jose perform are "Take Me To The River" which is really fanstastic and "Make A Plan" both songs are a powerful testament of what great torch singer Mrs. Schhur really is. Feliciano plays electric guitar on these two tracks and he aptly demonstrates why he is regarded by critics thru out the world as the greatest living guitarist not to mention one of the finest and most distinctive voices in Pop music. If you love Diane Schuur this CD is a MUST have for your collection. All of her albums are great and her voice is one of the finest in Jazz as far as I'm concern but this album is a rare masterpiece which is rarely if ever available. I've seen this album sell for $100 on Ebay. Get this gem while you still can you will not be dissapointed. FANTASTIC!!!!!!!!!!!!!!!"

"This album, Diane's sophomore effort, turns to bouncy pop with a lot of synths and electric piano. There are standards here with jazz harmonies, but the effort of this album goes toward adult radio. The bouncy "Needle In A Haystack" is pure pop fluff with Diane handling all the overdubbed harmony and backing vocals. "By Design" is a pop duet with Jose Feliciano, whose baritone is as strong and full as Diane's contralto. Both sing this song in full voice and the song is clearly targeted for radio airplay. "Love Dance" is a more straight on jazz/pop ballad, "It Don't Mean A Thing If It Ain't Got That Swing" is delivered in a bossa nova style reminicent of Basia. "Take Me To The River" sounds a bit strained, again Diane's vocals are multi overdubbed. "Sure Thing" is a favorite, an optimistic intimate ballad featuring soft strings. This album is a little overproduced and was an attempt to market Diane as mainstream. The synths mark time but Diane's vocal delivery and the pop production of this album offer a study in an artist searching for a signature sound, which she explores futher in the follow up album "Timeless.""

DIANE SCHUUR - Timeless (1986)

Chuck Findley, Warren Luening (tp) Stan Getz, Jack Nimitz, Bill Perkins, Bill Reichenbach, Tom Scott (sax) Dave Grusin, Mike Lang (key) Lee Ritenour (g) Chuck Domanico (b) Steve Schaefer (d) Larry Bunker (per) Diane Schuur (vo) unidentified strings, and others NYC, 1985


01 How Long Has This Been Going On
02 Easy To Love
03 Come Rain Or Come Shine
04 How About Me
05 Do Nothin' Till You Hear From Me
06 A Time For Love
07 I Can't Believe That You're In Love With Me
08 Please Send Me Someone To Love
09 Impossible
10 Travelin' Blues
11 Too Late Now
12 Don't Like Goodbyes

Link to download:

"A "Grammy Award" winning classic, when this masterpiece came out on old vinyl in the 80'S, I completely wore out several copies! This great singer is the real thing and Diane is at her peak vocally plus sings in such a deeply soulful and hauntingly brilliant manner that make this collection of classics a "must have" for anyone who enjoys a great voice!!! Add this all up and you have a totally satisfyig work full of classic performances...from the jazzy feel of "HOW LONG HAS THIS BEEN GOING ON?" & "EASY TO LOVE" to the lush romantic passion of "A TIME FOR LOVE" & "DON'T LIKE GOODBYES" to the hot, burning and blusy athem "PLEASE SEND SOMEBODY TO LOVE", this is a wonderous set full of variety with sublime and passionate performances that will give years of listening pleasure...don't miss this one!!!! BRAVO DIANE SCHUUR!!! You are truly the most gifted singer of your generation!!!!! "

"I had never heard of Diane Shuur until until I saw her on TV, probably in '86 or '87. When she starting singing, I got one of those rare shocks in life when you realize you are in the presence of genius. The next day I bought this album (and, yes, this was back when there were albums). I didn't like all the songs on it, but the ones I did liked, I thought were wonderful. It's hard to describe her voice--"pure" comes to mind. How to describe this album? Smooth jazz, maybe, the kind you sometimes her in nightclubs if you're lucky. Wonderful album, by a wonderful singer."


Stan Getz (tenor sax); Kenny Barron (piano); George Mraz (bass); Victor Lewis (drums); Babatunde (congas, brushes)


01 I Wanted To Say
02 I Thought About You
03 Yesterdays
04 Dreams
05 Falling In Love
06 Voyage

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"This is vintage Getz, along with Barron,Mraz,Lewis,four outstanding musicians sharing pure lyrical jazz soulfulness.Recorded in 1986 this studio acoustic set is of the highest order and includes "I wanted to say"(9.25)"I thought about you"(5.26)"Yesterdays"(9.18)Dreams(10.22) "Falling in love"(8.22)"Voyage"(7.04).Absolutely hypnotic and enchanting,Getz is in top form.Drift away on this "Voyage" to a better place, through many moods from tranquility to total inspiration.Very rare cd now-find it if you can!"


Rick Baptist, Oscar Brashear, Noland Smith Jr. (tp) George Bahanon, Reginald Young (tb) Tom Johnson (tu) Bill Green (as) Stan Getz (ts) Kenny Barron (p) Mike Lang (el-p, syn) Eddie Del Barrio (syn) Oscar Castro-Neves, Michael Landau (el-g) Jimmy Johnson (b) Jeff Porcaro (d) Paulinho Da Costa (per)


01 Apasionado
02 Coba
03 Waltz for Stan
04 Espanola
05 Madrugada
06 Amorous Cat
07 Midnight Ride
08 Lonely Lady

Link to download:

"The legend of Stan Getz has always fascinated me and in 1990 when this masterpiece was released, Stan Getz made an appearance on the Boston Pops where he also played with the other guest artist Melissa Manchester and was so extraordinary that I purchased "Apasionado" upon its release!! Hypnotic is the opening title song and Stan plays with so much soul that I am carried away each time and the arrangement is incredible!! Kenny Barron on Acoustic Piano is also amazing and this is truly a magical musical journey that is a great escape and the best instrumental set in my collection that I come back to year after year!!! Orchestrations flow and the fluid solo of Stan in "Coba" is again brilliantly complemented by the masterful Kenny Barron creating a rich tropical delight full of passion. Totally inspired is this set of original classics that were all composed by producer Herb Alpert, arranger Eddie del Barrio and Stan Getz himself!!! Mesmerizing is the enchanting "Waltz For Stan" with Stan giving a soulful and glorious performanace quite unlike anything I have ever experience before and the arrangement again beautifully showcases his classic solo. Exotic latin rhythms caress and surround a gorgeous passionate solo that is full of fire in the exquisite "Espanola" while fascinating rhythm changes make "Madrugada" a wild ride with incredible interplay between Stan and Kenny Barron with both at their absolute peak!! Each work has its own unique feel with Stan mellow yet powerful and all over the map and at his all time creative peak and one would never know that he was extremely ill when this recording was made. I was so sad when he passed away so quickly after its release as this was a new plateau...Stan weaves a mellow spell in the beautiful jazzy "Quiet Storm" classic "Amorous Cat" and gives another masterful performance in the tour-de-force "Midnight Ride" which again features GREAT keyboard playing by Kenny Barron that flows beautifully with Mr. Getz who is at an incredible peak in this stunning masterpiece that is a ride you won't want to end!!! Ending this soulful set is the soft and haunting "Lonely Lady" that is a 4 A.M. classic that is very smooth and a lovely ending to a remarkable set that is my personal favorite from this legend...Thank You Mr. Getz for this incredible gift that is from your soul...This is a timeless classic... "

". . . what with the master finding himself in a setting with electric piano, various synthesizers, background horn "sweetening," and fusion drummer Jeff Porcaro. But you know what? His res, the shear weight of his presence, lifts what could've been a lightweight, throwaway date into the stratosphere--or at least the upper atmosphere. When this session was recorded in the early nineties, jazz was going through an awkward phase. It was thought by many that it could not compete with New Age and Fusion music without a little sweetening and compromise. If it stayed true to itself and its roots, it would find itself relegated to the musical backwaters of cultural irrelevance. The subsequent decade and a half have pretty thoroughly laid to rest that notion, but the jazz world at this time found itself littered with attempts to make it relevant. This is one of those. And one of the more successful efforts. But it's almost entirely because of the enormous presence of Getz, the most significant sax voice of his generation, and one of a handful of giants on his instrument in the history of jazz. Still, when all is said and done, this is a disc a lot more likely to appeal to fans of the Rippingtons than fans of Joe Lovano. The songs, all except one credited to Eddie del Barrio, Herb Alpert, and Getz himself, seldom rise above pleasant though rather generic-sounding jazz fusion, mostly of a vaguely Brazilian sort. Jobim lite. On the other hand, it does have Kenny Barron on piano, Oscar Castro Neves on guitar, and Paulinho da Costa on percussion, players of the first rank, who generally lend the proceedings a gravitas not usually associated with smooth jazz, and even occasionally goose Mr. Getz into some impassioned statements. Throw in some very slick arranging, production, and recording values and you have a disc that nearly swamps the leader in saccharin. But doesn't. Just barely. Certainly worth owning, as any Getz disc is, if only for its novelty value and to hear the master beat the surrounding fluff into submission. But not essential. If faced with a choice, you're better off with Bossas & Ballads: The Lost Sessions, from around the same period, which IS among Getz's greatest ever discs. Four-and-a-half stars. "


Stan Getz (ts) Kenny Barron (p) Ray Drummond (b) Ben Riley (d) 'Glasgow International Jazz Festival', Glasgow, Scotland, June 29, 1989


01 You'd Be So Nice To Come Home To
02 Joanne Julia
03 Yours And Mine
04 Con Alma
05 People Time
06 What Is This Thing Called Love?
07 Yesterday

Link to download:

"The live record "Yours and Mine" (and its companion "Soul Eyes") are valuable and remarkable additions to the vast legacy of one of the greatest saxophone players in Jazz history. The two records contain 12 tunes Getz and his quartet recorded in Glasgow, Scotland, in June 1989 and 3 additional tracks from a gig in Denmark, recorded a month later. The liner notes state that the Glasgow date was "one of the days when everything was working", that puts it in a nutshell. Getz was in a great mood (listen to his zany comments after the first tune) and his superior talent got the necessary kick to yield a truly memorable record. So far, I considered "The Dolphin" his ultimate live record, but "Yours and Mine" is even better. He shines on ballads like "Yours and Mine" and "People Time", on up tempo rousers like "What Is This Thing Called Love" and on "Joanne Julia", a lovely reminiscence of his Bossa Nova days, when Getz became the most successful jazz musician in history. So, just sit back and relax and let an old friend soothe your soul with his utterly absorbing tone. This is a marvelous hour of Stan Getz at his best. Just great, if you are a Getz fan, and an incomparable experience if you're new to Stan Getz. You're in for a treat! "


Stan Getz (ts) Kenny Barron (p) Ray Drummond (b) Ben Riley (d) 'Glasgow International Jazz Festival', Glasgow, Scotland, June 29, 1989


01 Voyage
02 Soul Eyes
03 Feijada
04 Blood Count
05 Stan's Blues
06 Slow Boat To China
07 Warm Valley
08 Hush-A-Bye

Link to download:

"In going back and reviewing my nearly complete works of Stan Getz, the greatest Jazz sax man of all time, I've decided that this delightful album really deserves to be better known. I'll do my part.One of the best of the classic late 80's Getz posthumous albums. Getz had curtailed his, umm, bad habits and the disease he would eventually die from was in remission. This concert is well recorded, better than some other late concerts and there is lively interaction between Getz, Kenny Barron and the others. They seem to be having a great time together playing off each other.What sets this album apart is the song selection including "Slow Boat to China" is somewhat unusual for Getz. Four to five stars - Getz fans should have this in their collection!"

"I am a big fan of Stan Getz and he occupies a large section in my Vinly/Cd collection. This is one of albums he did in a period that he was traveling in Europe playing with Kenny Barron, Victor Lewis and others. His classic "sound" is in full voice and the tunes are melodic and the quality of the recording is very good. The BBC recorded a number of Stan's dates in Europe in the late 80's and they are very high quality. This CD is in the top 5 in my Stan collection - Highly recommended."

More review:

HELEN MERRIL - Just Friends (1989)

Stan Getz (ts) Joachim Kuhn (p) Jean-Francois Jenny-Clark (b) Daniel Humair (d) Helen Merrill (vo) Torrie Zito (p) (track 06),


01 Cavatina
02 It Never Entered My Mind
03 Just Friends
04 It Don't Mean A Thing
05 Yesterdays
06 Music Makers
07 Baby Ain't I Good To You
08 It's Not Easy Being Green
09 If You Go Away

Link to download:

"Recognized as one of the country's great jazz singers, Helen Merrill is also one of the least known, except to aficionados. In this remarkable album from 1989, Merrill, then almost sixty years old, teams up with Stan Getz to record a stunning exhibition of improvisational jazz. Her mature voice is rich and powerful, but she retains a sweetness that allows her to be whispery, melancholy, pensive, or sexy without sounding "thin" or fragile. The timbre of Getz's sax blends perfectly with her alto to create a double-barreled melodic line, and their individual talents at improvisation lead to interpretations of immense creativity. The album is Merrill's, however, with Getz supporting but not overpowering her, remembering always that he is the talented guest on the album. The songs encompass many moods. "Cavatina," written by Cleo Laine, is soft, slow, and wonderfully romantic, and Getz's variations build on the romance. "It Never Entered My Mind" shows Merrill's control, as she almost whispers the lyrics, creating a pensive, moody ballad with fresh sounds and interpretations. By contrast, "Just Friends" is upbeat and quick, and "It Don't Mean a Thing," an Ellington song, is wild and swingy, with a terrific piano solo (Joachim Kuhn) to continue the melodic variations introduced by Getz. "Baby, Ain't I Good to You" gets the slow, sexy treatment, while Jacques Brel's "If You Go Away," so often a song of agony and passion, is introduced by Getz's solo sax and becomes quiet and melancholy here, moodier and less threatening than most other interpretations. The climax is "Yesterdays," a song so filled with improvisation that it is sometimes difficult to recognize the original melody. Merrill stays in the background here as Getz and bassist Jean-Francois Jenny-Clark go to town creating a fresh sound for this standard. Impeccable in its musical presentation and very dramatic in its originality, this album sets the standard for collaboration between two jazz stars who obviously respect each other and their medium--and it may be Merrill's best album." Mary Whipple

"This CD is wonderful. Merrill and Getz compliment each other lyrically and stylistically. Being a Getz fan over the years, I found the connection with Merrill and her voice and style a great treat. Too bad there aren't more collaborations between these two."


Anonymous Anonymous said...

Hi, found another buggy file.
Diane Schuur - Schuur Thing, track 10 is heavily demaged between 42" and 47". mp3check detects bad 1649,1657,1670,1682,1742, and 1756.

9:33 AM  
Anonymous Anonymous said...

hi here is a better one!

Diane Schuur - 10 - No Time for True Love


11:30 PM  
Anonymous Anonymous said...

The music files I downloaded were corrupt - can you please validate and re-upload them.

2:30 AM  
Anonymous Anonymous said...

Thanks for that ! but the link of DOLPHIN 1981 is dead... can you re-upload it please ?... thanks. Best regards. and thanks for all Stan Getz's discography !

7:13 AM  
Anonymous Anonymous said...


The blog is completely amazing. However, the later (80s, 90s)Getz links are almost all dead. Could this be amended?

3:05 PM  

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