The Ultimate Jazz Archive Vol.106 – Stan Getz [1950-1952] [2005]

01.On The Alamo
02.Yesterdays
03.You Go To My Head
04.Hershey Bar
05.Out Of Nowhere
06.4s Wonderful
07.Strike Up The Band
08.Imagination
09.It Might As Well Be Spring
10.Penny
11.The Best Thing For You
12.Melody Express
13.Wildwood
14.Yvette
15.Potter4s Luck
16.The Song Is You
17.Where Or When
18.Tabu
19.Moonlight Is Vermont
20.Jaguar
21.Stars Fell On Alabama
22.Sometimes I4m Happy

One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard. Getz, whose main early influence was Lester Young, grew to be a major influence himself and to his credit he never stopped evolving.

Getz had the opportunity to play in a variety of major swing big bands while a teenager due to the World War II draft. He was with Jack Teagarden (1943) when he was just 16, followed by stints with Stan Kenton (1944-1945), Jimmy Dorsey (1945), and Benny Goodman (1945-1946); he soloed on a few records with Goodman. Getz, who had his recording debut as a leader in July 1946 with four titles, became famous during his period with Woody Herman's Second Herd (1947-1949), soloing (along with Zoot Sims, Herbie Steward, and Serge Chaloff) on the original version of "Four Brothers" and having his sound well-featured on the ballad "Early Autumn." After leaving Herman, Getz was (with the exception of some tours with Jazz at the Philharmonic) a leader for the rest of his life.

During the early '50s, Getz broke away from the Lester Young style to form his own musical identity and he was soon among the most popular of all jazzmen. He discovered Horace Silver in 1950 and used him in his quartet for several months. After touring Sweden in 1951, he formed an exciting quintet that co-featured guitarist Jimmy Raney; their interplay on uptempo tunes and tonal blend on ballads were quite memorable. Getz's playing helped Johnny Smith have a hit in "Moonlight in Vermont"; during 1953-1954, Bob Brookmeyer made his group a quintet and, despite some drug problems during the decade, Getz was a constant poll winner. After spending 1958-1960 in Europe, the tenorman returned to the U.S. and recorded his personal favorite album, Focus, with arranger Eddie Sauter's Orchestra. Then, in February 1962, Getz helped usher in the bossa nova era by recording Jazz Samba with Charlie Byrd; their rendition of "Desafinado" was a big hit. During the next year, Getz made bossa nova-flavored albums with Gary McFarland's big band, Luiz Bonfá, and Laurindo Almeida, but it was Getz/Gilberto (a collaboration with Antonio Carlos Jobim and João Gilberto) that was his biggest seller, thanks in large part to "The Girl from Ipanema" (featuring the vocals of Astrud and João Gilberto).

Getz could have spent the next decade sticking to bossa nova, but instead he de-emphasized the music and chose to play more challenging jazz. His regular group during this era was a piano-less quartet with vibraphonist Gary Burton, he recorded with Bill Evans (1964), played throughout the 1965 Eddie Sauter soundtrack for Mickey One, and made the classic album Sweet Rain (1967) with Chick Corea. Although not all of Getz's recordings from the 1966-1980 period are essential, he proved that he was not afraid to take chances. Dynasty with organist Eddie Louiss (1971), Captain Marvel with Chick Corea (1972), and The Peacocks with Jimmy Rowles (1975) are high points. After utilizing pianist Joanne Brackeen in his 1977 quartet, Getz explored some aspects of fusion with his next unit which featured keyboardist Andy Laverne. Getz even used an Echoplex on a couple of songs but, despite some misfires, most of his dates with this unit are worthwhile. However, purists were relieved when he signed with Concord in 1981 and started using a purely acoustic backup trio on most dates. Getz's sidemen in later years included pianists Lou Levy, Mitchell Forman, Jim McNeely, and Kenny Barron. His final recording, 1991's People Time, (despite some shortness in the tenor's breath) is a brilliant duet set with Barron.

Throughout his career Getz recorded as a leader for Savoy, Spotlite, Prestige, Roost, Verve, MGM, Victor, Columbia, SteepleChase, Concord, Sonet, Black Hawk, A&M, and EmArcy among other labels (not to mention sessions with Lionel Hampton, Dizzy Gillespie, and Gerry Mulligan) and there are dozens of worthy records by the tenor currently available on CD. ---Scott Yanow, Rovi

Stan Getz to jeden z najlepszych saksofonistów wszech czasów. Jego pseudonim - "The Sound" - pochodził od niesamowitych dźwięków, które grał.

Jako nastolatek Stan Getz grał w wielu znanych zespołach swingowych. Występował m.in. z takimi sławami jak Jack Teagarden, Stan Kenton, Jimmy Dorsey czy Benny Goodman. Po debiucie nagraniowym w 1946 roku, Getz zyskiwał coraz większą sławę m.in. dzięki współpracy z Woody Herman's Second Herd oraz solowym popisom w oryginalnej wersji "Four Brothers" Jego wyjątkowe brzmienie najlepiej pokazywał utwór "Early Autumn". Po opuszczeniu składu Hermana, Getz tworzył już na własne konto do końca życia.

Na początku lat 50. Stan zdecydował się na odrzucenie stylu gry Lestera Younga, na którym wcześniej się wzorował. Stworzył własne brzmienie, dzięki któremu wkrótce stał się jednym z najpopularniejszych jazzmanów. Getz pomagał także innym artystom. To właśnie on odkrył w 1951 roku Horace’a Silvera, którego przyjął do swojego kwartetu. Rok później, w czasie tournee po Szwecji, Getz stworzył kwintet, w którym grał m.in. gitarzysta Jimmy Raney. Również dzięki pomocy Getza, Jimmy Smith nagrał hit "Moonlight In Vermont".

Po spędzeniu końcówki lat 50. w Europie, tenor powrócił do Stanów Zjednoczonych i tam nagrał swój ulubiony album zatytułowany "Focus". Nad jego aranżacją czuwała Eddie Sauter's Orchestra. Kolejny wielki sukces artysty to nagranie "Jazz Samba" z Charliem Byrdem.

Następny rok to współpraca z takimi wykonawcami jak Gary McFarland's, Luiz Bonfá, czy Laurindo Almeida nad kolejnym albumami, tym razem w stylu bossa-novy. Jednak to dzieło "Getz/Gilberto" gdzie wystąpili Antonio Carlos Jobim i João Gilberto powaliło wszystkich na kolana. Utwór "The Girl From Ipanema" pochodzący z tej płyty stał się znany na całym świecie.

Mimo, że to dzięki rytmom bossa-novy Getz odniósł największy sukces, na dalszym etapie działalności postawił na bardziej wymagający jazz. Nagrywał m.in. z Garym Burtonem, Billem Evansem, po czym w 1967 roku stworzył klasyczny album "Sweet Rain" z Chickiem Coreą.

Getz nie bał się kolejnych wyzwań. Płyta "Dynasty" nagrana z Eddiem Louissem, "Captain Marvel" ze wspomnianym już Coreą czy "The Peacocks" nagrana z Jimmym Rowlesem potwierdzały jego pewność siebie.

W 1981 roku Stan podpisał kontrakt z wytwórnią Concorde i od tej pory występowali z nim Lou Levy, Mitchell Forman, Jim McNeely i Kenny Barron. Ostatnia płyta "People Time" z 1991 roku stała się kolejnym wielkim sukcesem artysty oraz Brarona, z którym Getz nagrywał. Artysta zmarł 6 czerwca 1991 roku. ---rfm.mf

download:   uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back