STAN GETZ Part 5. in the 90's
"" I don't make records for labels anymore. If I have something I want to do, I go in and play it for the president of a company, and if they get enthused, that's it! " (Stan Getz)
Stan Getz (ts) Kenny Barron (p) Rufus Reid (b) Victor Lewis (d) "Cafe Mountmartre", Jazzhus, Copenhagen, Denmark, July 6, 1987
01 El Cahon
02 I Can't Get Started
03 Stella By Starlight
04 Stan's Blues
05 I Thought About You
06 What Is This Thing Called Love?
07 Blood Count
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"Stan Getz was 60, sick and considered washed up by many in jazz after a decade or so of trying to follow the latest trends like fusion. But he was off the drugs and alchohol. He went back to doing what he did best, beatiful lyric saxophone, 3d blue velvet fog sculpted notes on jazz standards. (No bossa nova). Ballads and bebop. The result is one of the greatest comeback albums of all time, rival's Bob Dylan's latest. There is no attempt to be "cool". He is more expressive and emotional (happy, sad) than his early work, without ever sounding angry or cynical. Excellent back up band. Excellent recording. 2005 update - of all the Getz albums I have, and I have a lot, this is the one I listen to most. More than Getz/Gilberto, more than Bossa & Ballads, more than Jazz Samba, etc. The music just pours from his soul as if the sax were connected to his heart. All are masterpieces but "Blood Count" "Stella By Starlight", "I thought about you" and "I Can't get Started" sparkle with a real magic. Highest recommendation"
"This is a wonderful album. The tunes and the performances are tremendous. I don't know who the keyboard player is but if you enjoy piano, that in itself is worth the album. The band is so tight and smooth; excellent recording. Highly recommended."
Stan Getz (ts) Kenny Barron (p) Rufus Reid (b) Victor Lewis (d) "Cafe Mountmartre", Jazzhus, Copenhagen, Denmark, July 6, 1987
01 On Green Dolphin Street
03 Falling In Love
04 I Remember You
05 I Love You
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"Recorded live at the Cafe Montmartre in Copenhagen on July 6, 1987, this CD conveys the spontaneity that one can really only find in a live performance. This is good Getz, with the other memebers of the quartet contributing good support and good solo work. "
"This is a review that I write with extreme pleasure because it's about a couple of discs that I really love since they came out in 1991. I'm talking about "Serenity" and "Anniversary" which are two albums that were recorded both July the 6th 1987 at Cafe Montmartre in Copenhagen. I remember that I heard that Stan already know to be at the end. He gave all that he still had inside here, he played here some of the best music of his life. No doubt. His sound was better than ever, his phrasing absolutly magnificient, unequalled. He was accompanied here by a very talented band, Kenny Barron piano, Victor Lewis drums and Rufus Reid double bass. They swang here as it was the most natural thing to do on Earth. The program is based on standards and it is exceptionally well balanced. It is even a very nice live recording, I may called it almost a "reference" album because it is very natural sounding. I mean, if you want some truly stellar Jazz, some truly stellar ballads and swinger standards, a master at the top of his game ... well let's begin buying these two discs from the immortal Stan getz. Some of the best music he played in his illustrious 5 decades career. You won't regret a single cent spent here. It's some of the best music I have ever listen to in more than twenty years of jazz. Buy both the albums and get the full picture of an heavenly Stan Getz. Maybe you can buy "People time" too. It's a recording that was made in this same period, a double cd set based on Stan and Kenny Barron duets. Fantastic. Believe me."
Stan Getz (ts) Maxine Roach (vla -1,8) Hank Jones (p) Charlie Haden (b) Mark Johnson (d) Abbey Lincoln (vo) BMG Studios, NYC, February 25 & 26, 1991
01 Bird Alone
02 I'm In Love
03 You Gotta Pay The Band
04 Brother, Can You Spare A Dime?
05 You Made Me Funny
06 And How I Hoped For Your Love
07 When I'm Called Home
08 Summer Wishes, Winter Dreams
09 Up Jumped Spring
10 A Time For Love
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"Had Stan Getz had more solo breaks on this work, it would rank as one of my all-time favorites. His playing was spontaneous and lyrical and absolutely beautiful. But like other reviewers, I skip forward through a lot of the singing. Emotion alone does not stretch Ms. Lincoln's range more than one octave. The "You made me funny" track is terrible, self-indulgent poetry. Ah, but Stan Getz is ON. "Up Jumped Springtime" is masterful. I spent a lot of time listening to this CD because we had already lost Stan when it was released. It shows how a virtuoso transcend the limits of a studio. If you are a Getz fan, you have to have this album. It reminds me of his "Forrest Eyes" sound track, in that he seriously dominated what could have been a silly session. "
"A group of consummate pros works here with Abbey Lincoln to produce a jazz album that is polished but sometimes playful, and emotional but never careless, with six songs written by Lincoln. Stan Getz on sax is at the top of his form in what turned out to be his last recorded album. Hank Jones on piano adds a sense of romance and sometimes mystery with his frequent (wonderful) solos, and Charlie Haden on bass and Mark Johnson on drums provide the beat. On two songs, "Bird Alone" and "A Time for Love," Maxine Roach adds a haunting viola. Lincoln's voice, clearly influenced by Billie Holiday and Bessie Smith, may be an acquired taste--reedy, sometimes a little bit "blatty," and lacking sweetness--but she is an actress with a song, and her passion and oneness with her lyrics give her a unique sound that enables her to convey the essence of the music, becoming an interpreter and poet rather than simply a singer. "Bird Alone" is a song of mystery, "Brother, Can You Spare a Dime," a song of sorrow, and "You Made Me Funny," a "talk-story"--an eerily spoken Lincoln soliloquy, full of contrasts. With "And How I Hoped for Your Love," she branches out into a bossa nova beat, while the magnificent "When I'm Called Home" is a wrenching ballad of loss and missed opportunities. Lincoln sings many of these songs in a minor key, while the solos by Getz and Hank Jones are often more upbeat and bring the music into happier realms in major keys. With a timbre the same as that of Getz's sax, Lincoln's voice becomes one with the sounds of her musicians and allows all of them to soar. n Mary Whipple"
"I'd really like to give this record 3 1 stars. The reason is that although there are some really good jazz songs here, like "Bird Alone", "I'm In Love", and "And How I Hoped For Your Love", there are a couple of clunkers, notably "You Made Me Funny" and "When I'm Called Home". That said, there are a few other things you should know. The band, for instance, is phenomenal, and the tenor sax of Stan Getz is perfect. The fact that there are only 10 songs made me feel a little cheated, certainly they had room for 12 or 14. And Ms. Lincoln is well into her 60s; you can hear the limitations that age has brought to her voice range."
"Abbey Lincoln is one of those artists that grows in stature with repeated listening. If you just want beautiful vocals, check out some early Ella Fitzgerald, but if you want a recording that rewards with each repeated playing , this cd fits the bill. Ms. Lincoln's voice can be raspy, however in contrast to the cool lines Getz blows and the tasteful piano style of Hank Jones the combination mixes very well indeed. Abbey Lincoln does not make for good background music, but if you are willing to really focus on her delivery, pay heed to the lyrics and let the music wash over you it can make for a very enjoyable experience. "
PEOPLE TIME (1992) with KENNY BARRON
01 East Of The Sun
02 Night And Day
03 I'm Okay
04 Like Someone In Love
06 I Remember Clifford
07 Gone With The Wind
01 First Song
02 (There Is) No Greater Love
03 The Surrey With The Fringe On Top
04 People Time
05 Softly, As In A Morning Sunrise
07 Soul Eyes
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This album, a series of duets laying the wondrously inquisitive piano of Kenny Barron next to the breathy, half-lit tenor of Stan Getz, was both the last public appearance and the final recording in the life of Getz. Recorded with astonishing clarity live at Copenhagen's Montmartre Café, People Time serves as a passionate coda to the life of this great saxophonist. Many of the tunes seem chosen for their emotional content, as if Getz were aware this might be his swan song. Speculation aside, this is a remarkably gorgeous, exquisitely paced recording. Throughout, Getz and Barron exhibit both a deep understanding of the material as well as sympathetic, truly harmonious playing. Never rushed, never brash, People Time lingers over melodies, fleshing them out and extracting every ounce of feeling. A must-have for fans of both artists. --S. Duda
"This is an amazing 2 cd set with two jazz majors. A listener will experience maybe the best renditions in the jazzworld of East of the Sun and of I Remember Clifford, two of my all time fav jazz tunes ever written. Soulful, deepening, ...like the review says "as if Stan Getz knew this was his swan song." These CDs gave me an even greater appreciation of Stan Getz style. A highly recommended edition to any jazz lover's collection."
"This is the most achingly beautiful record I have ever heard, in any genre of music. Getz' seems to be seeking redemption and meaning for a life that he must have felt had been largely squandered in alcohol and drugs. Having achieved sobriety in his last few years, he seemed bent on leaving a testament to his true gifts, which were stupendous. This is why Serenity, Anniversary, and especially this record are the most beautiful of his career."
"This album is truly essential for anyone's jazz collection, especially if you are a fan of Getz and his astonishingly beautiful lyricism. The fact that it is Getz' last recording before his death only adds poignancy and depth to the album. Had it been recorded in the 70s or even earlier, however, it still would've stood alone as an amazing album. On the album, Getz' tenor loses some of its usual sonorous tone due to Getz' old age and waning strength. Even the most casual listener, however, will still have no problem appreciating Getz' soul-searching melodic lines and mastery of the instrument. Having seen Kenny Barron several times live, I definitely feel comfortable saying he is one of my favorites. Let me say--he definitely does not disappoint here. The two of them, Getz nearing the end and Barron playing in his prime, make for a masterful combination and an indispensable album. The songs are not nearly as unstructured or convoluted as this review, with a natural interplay between the two that could only be called a "conversation" of sorts. It is somewhat depressing to hear Getz trying to do things he would have done in his sleep while in his prime--but again, it simply adds to the beauty of the album. Check out ending on his original recording of "I Remember Clifford" and compare it to the on on "People Time"--you can almost sense Getz' bittersweet resignation resonating throughout the Coda. Definitely buy this one."
THE FINAL CONCERT RECORDING (2001)
Stan Getz (ts) Kenny Barron (p) Eddie Del Barrio, Frank Zottoli (syn) Alex Blake (b) Terri Lyne Carrington (d) "Philharmonic Hall", Munchen, West Germany, July 18, 1990
02 On A Slow Boat To China
03 Soul Eyes
04 Espagnira (Espanola)
06 Seven Steps To Heaven
07 El Cajon
01 Yours And Mine
03 Lonely Lady
04 Blood Count
05 What Is This Thing Called Love?
06 People Time
07 Amorous Cat
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Recorded at the Munich Philharmonic Hall in 1990 before a highly appreciative audience, the 63-year-old Stan Getz gives his final concert performance, and it is an excellent one indeed. His instantly recognizable tenor sax tone, well known for its rounded mellifluousness, has, by this time, grown fuller, with an attractive edge to it. He sounds in tip-top form as he and his quartet play a varied program of up-tempo swingers ("Seven Steps to Heaven," "What Is This Thing Called Love") and numerous lush ballads (Thad Jones's "Yours and Mine," Billy Strayhorn's "Blood Count"). Kenny Barron's piano style complements Getz perfectly, and the two seem particularly inspired on this evening. On several numbers, synthesizers are used to simulate the string sections of Getz's 1989 recording, Apasionado, and these textural pieces ("Espagnira," "Coba") add a studiolike lushness to the live concert. Stan Getz was a major force on tenor sax for over 40 years, and this final document-- a marvelous recording of an inspired performance--is a fitting testimony to his greatness. --Wally Shoup
2 CD's recorded live in Germany 1990 at Munich Philharmonic Hall, with Kenny Barron, Alex Blake & Eddie Del Barrio. Gorgeously packaged in tri-fold digipak from Eagle Jazz.
"I am always reluctant to buy 2 CD sets, especially when the artist has been dead for a decade! One would think to good stuff is already out. But Stan the Man, the greatest saxophonist of all time, continues to be amazingly prolific in death. Despite the title, "People Time" is actually Stan Getz last known recording, silvered some three months before his death. This CD set is from a concert at the Munich Philharmonic, July 1990, 11 months before his death.For a 63 year old guy who would be gone from us in a year, Stan sound amazingly sprightly and energetic here. Moreso than he does on "People Time"! He was on a Zen marcobiotic diet, excercised, and had discontinued his, umm, unheathful habits, and was feeling good here. He bops through a number of happy, upbeat songs, five from his latest album with Herb Alpert, "Apasionado".Apasionado had a lot of New Age (NOT Smooth Jazz) influences, trying to be part of the latest thing in 1990. "Coba", the title track and "Espanira" have a strong classical Spanish influence like Miles Davis "Sketches of Spain". He plays a Miles Davis tune "Seven Steps to Heaven". The orchestra on the "Apasionado" CD is herein replayed by the song writer Eddie Del Barrio on synthesizer. In his later years, Stan liked to feature new music by lesser known people in his group.Other tunes include numbers from "Anniversary" & "People Time". Also with him is Kenny Barron, clearly the best Jazz piano accompanyist in the business, then and now. Stan plays Barron's tune "Voyage". Only four cuts are ballads and here Stan shines, as always. Especially on "People Time" & "Blood Count". I like disc two the best, should they ever become available seperately. Also "Amorous Cat", which I'd never heard elsewhere from Getz, sounds particularly sensual, like a cat rubbing itself on your leg! The acoustic is a little echoy and bright, sometimes the drums and piano seem closer than the sax. Later in the concert he asks for, and gets, a more focused sound.Steve Getz has said that his father's instantly recongizable music has a "healing quality". I believe that is true. May more of his music continue to be found! Stan fans and collectors will enjoy this album, another good posthumous release. Four stars for a performance every bit as good as Stan in his prime, three stars for recording quality, under my extra tough grading system!"
"The expression "a full Mastery of one's instrument" is arguably impossible to attain, but a handful of musicians (the likes of Getz, Tatum, Evans, Dizzy, and Bird) are often credited with having done just that. The Final Concert is proof positive that perfection, or near perfection, is possible. Getz, with the help of some of the world's most talented musicians, performs a variety of compositions in different tempos & genres, that most musicians can only dream of doing. Technically & Lyrically this CD is a masterpiece, and a must have for any lover of Jazz. We can only hope that the Getz estate has many more of these gems hiden away. STAN LIVES ON!!!"
Compiled By - Daniel Richard /Double Bass - Rufus Reid (tracks: 2, 4, 6, 8) /Drums - Victor Lewis (tracks: 2, 4, 6, 8)/ Mastered By - Alexis Frenkel/ Photography [Cover] - Jean-Pierre Larcher /Piano - Kenny Barron Saxophone [Tenor] - Stan Getz
Recorded live at Café Montmartre, Copenhagen on July 6th 1987, and between March 3rd and 6th 1991.
01 People Time
02 I Thought About You
03 Soul Eyes
04 I Can't Get Started
05 I'm Okay
06 Falling In Love
07 I Remember Clifford
08 Blood Count
09 First Song
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"Many of the current flock of compilations of Stan Getz come from earlier music, especially from the 1960's. This group is taken from his last recordings, late 80's-90's, including, arguably, his finest album "Anniversary", and "Serenity" recorded on his sixtieth birthday, at the apex of his abilities, and "People Time" recorded months before his death, some four years after. All were recorded live at the "Cafe Montmartre", one of his favorite venues from his ex-patriot days. The music is all ballads: breathtakingly beautiful, heartfelt and poignant, deeply expressive, romantic, and sad. Ballads, of course, were his forte. The magnificent "Sound" is still there, as always, but the "Cool", aloof style of his earlier years has been replaced by deep emotional truth. While up tempo songs may are technically difficult, ballads expose the depth of the soul. While this is a great album and a wonderful introduction to his work, if you like the music here, do buy the original albums listed above. In concert, Stan always offset the ballads with upbeat songs, which made them stand out in relief. I feel they are more meaningful when presented this way.I should add that Jazz's greatest trumpeter, Miles Davis, everything he recorded is currently available. Sadly for Stan, the Jazz's greatest sax man, the original albums are vanishing to be replaced by a series of overlaping "best of's". Get the originals while you can. He is the best."
"Nothing new here, just some of the best live jazz of the 80's and 90's. All of these tracks look like they are taken from the three (excellent) previously released albums Stan recorded live at Cafe Montmartre in Copenhagen with Kenny Barron, 'Anniversary', 'Serenity', and 'People Time'. This is not "80's Jazz", or even "90's Jazz". This is just classic jazz. Stan plays much better here than in any of his 60's studio albums, and Kenny Barron proves why he is probably the best accompanist ever.These recordings, played on a good stereo, will really transport you to the Cafe Montmartre. (I heard from a Danish friend a few years ago that the cafe has sadly closed). You can hear the occassional clinking of dishes, and the applause is warm and close. You'll be clapping too."
"What is characterized by Getz in his last years is his clear expression, his ability to play a story instead of just an atmosphere.Cafe Montmartre is the name of an old Danish jazz cafe where these songs were recorded. All of them are ballads collected from Getz' albums People Time, Anniversary, and Serenity. Anniversary and Serenity were recorded in 1987 with a band consisting of pianist Kenny Barron, bass player Rufus Reid, and drummer Victor Lewis. People Time is the music from a series of concerts in 1991, not long before Getz' death. The music is full of intimacy, strong expression, and lovely notes. Getz surely lives up to what he himself said: "I never played a note I didn't feel intimately, and I'd like that to be my epitaph."If you listen to this album more than once, and you'll want to when you hear it the first time, you'll never forget what he tells you. It sure doesn't hurt that the other musicians does a really good job too."
Stanley Getz, better known as Stan Getz (February 2, 1927 in Philadelphia- June 6, 1991 in Malibu, California) was an American jazz musician. He is considered one of the greatest tenor saxophone players of all time, and was known as "The Sound" because of his warm, lyrical, and instantly recognizable tone as displayed in his version of the song "The Girl from Ipanema". Getz's prime influence was the wispy, mellow tone of Lester Young, yet Getz continued to develop his approach to playing throughout his life. He said of himself in 1986: "I never consciously tried to conceive of what my sound should be..."Born in Philadelphia and raised in New York City in a family originally from Russia, Getz played a number of instruments before his father bought him his first saxophone at the age of 13. In 1943, at the age of 16, he was accepted into Jack Teagarden's band. After playing in various other bands (1944 Stan Kenton; 1945 Jimmy Dorsey; 1945–46 Benny Goodman) Getz became better known as a soloist in the Woody Herman Band from 1947–49. He scored a hit with his melodic and lyrical solo on Ralph Burns' piece 'Early Autumn'. With few exceptions, Getz would be a leader on all of his recording sessions since 1950.In the 1950s, Getz had become quite popular playing cool jazz with a young Horace Silver, Oscar Peterson, and many others. Getz's first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes, pianist Al Haig and bassist Tommy Potter. In 1958, Getz tried to escape his narcotics addiction (for which he had gotten arrested four years earlier), by moving to Copenhagen, Denmark.After returning to America in 1961, Getz would become a central figure in the fusion of jazz and Bossa Nova. Along with guitarist Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded the album Jazz Samba in 1962, and it became a commercial success. The title track "Jazz Samba" was an adaptation of Jobim's composition "So Danco Samba". Getz won the Grammy for Best Jazz Performance of 1963 for the track "Desafinado".The next step of this fusion was the meeting of Getz with the Brazilian musicians themselves — Getz recorded with composer Antonio Carlos Jobim, guitarist João Gilberto and his wife, the singer Astrud Gilberto. Their collaboration on "The Girl from Ipanema" (1963) won a Grammy award, making Jobim's style, known as Bossa Nova, much more popular. This piece became one of the most well-known jazz pieces of all time.The album Getz/Gilberto, a collaboration of Getz and Joao Gilberto, won two Grammy awards in 1965. They won Best Album and Best Single, besting The Beatles' A Hard Day's Night. This was no doubt a victory for jazz and for Bossa Nova and it resulted in the propagation of the music to millions, and paved the way for an influx of Brazilian music and instruments into jazz.Stan Getz understood the language of Bossa Nova and he sounds completely natural in his recordings with Brazilian musicians. Brazilian jazz has survived as a definite influence in the works of famous jazz musicians such as Wes Montgomery and Joe Henderson. In 1967, Getz became more inspired by jazz-rock fusion and other post bop developments, recording albums with Chick Corea and Stanley Clarke.After another drug-induced hiatus in Málaga, Spain, from 1969, Getz resurfaced, playing with electric ensembles into the 1980's, and experimenting with an Echoplex on his tenor saxophone, which critics vilified him for doing. To the relief of many jazz critics, he discarded fusion and the electric side of jazz in favour of acoustic jazz again, into the middle of the 1980s. Getz, later in the 1980's, gradually de-emphasized the Bossa Nova as his style of choice, opting for more esoteric and perhaps less mainstream jazz. He died in 1991 of liver cancer in Malibu, California. In 1998, The "Stan Getz Media Center and Library"' at the Berklee College of Music was dedicated to the memory of the saxophonist through a donation from the Herb Alpert Foundation.
Discography (1943-1991) both are excellent!:
http://www.jazzprofessional.com/interviews/Stan%20Getz.htm an interview from 1964 (about Bossa Nova etc.)
http://www.melmartin.com/html_pages/Interviews/getz.html an interview from 1986
http://www.npr.org/templates/story/story.php?storyId=1116131 maybe his last interview from 1990 (RealPlayer)
This is my biggest post ever here for Stan Getz , who was one of the best sax players .I love his music ,and got so much from his music : inspiration,love,beauty. His music is timeless and wonderfull.I agree with him, as he told "music is my life" . Yes, mine too!:)
If you ask about my favourite albums? The first was in my life "Billy Highstreet Samba" (1981) and perhaps this is my favourite too. Other is "Apasionado" (1989), but i love almost all since his 60's.
In the next few days i will repost some albums and maybe some more jazz or maybe some compilations ive played on 31.dec for my friends before go away for about 1,5-2 weeks.