Jazz

Stan Getz & Bill Evans (1973)

2010-05-02T14:15:44Z

Stan Getz & Bill Evans (1973)


01 - Night and Day 
02 - But Beautiful 
03 - Funkallero 
04 - My Heart Stood Still 
05 - Melinda Listen Listen 
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)

Bill evans - Piano
Stan Getz - Sax (Tenor)
Ron Carter - Bass
Richard Davis - Bass
Elvin Jones - Drums

The only studio meeting between Stan Getz and Bill Evans took place over two days in 1964, with the aggressive drummer Elvin Jones and either Richard Davis or Ron Carter on bass. It is peculiar that Verve shelved the results for over a decade before issuing any of the music, though it may have been felt that Getz and Evans hadn't had enough time to achieve the desired chemistry, though there are memorable moments. The punchy take of "My Heart Stood Still," the elegant interpretation of "Grandfather's Waltz," and the lush setting of the show tune "Melinda" all came from the first day's session, with Davis on bass. (Evidently he was unavailable the following day, so Carter replaced him.) Evans' driving, challenging "Funkallero" is the obvious highlight from day two, though the gorgeous "But Beautiful" and the breezy setting of "Night and Day" are also enjoyable. Only the brief version of "Carpetbagger's Theme," which seems badly out of place and suggestive of the label's interference with the session, is a bit of a disappointment. Obviously neither Getz nor Evans liked the tune, as they go through the motions in a very brief performance. [Some reissues add three unissued alternate takes, though additional material from the sessions was included in the box set The Complete Bill Evans on Verve.] ---Ken Dryden, Rovi

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Stan Getz & Charlie Byrd - Jazz Samba (1962)

2009-10-20T12:03:21Z

Stan Getz & Charlie Byrd - Jazz Samba (1962)

Tracks:

A1 	Desafinado 	5:47
A2 	Samba Dees Days 	3:30
A3 	O Pato 	2:35
A4 	Samba Triste 	4:45
B1 	Samba De Uma Nota So 	6:07
B2 	E Luxo So 	3:40
B3 	Baia 	6:35
B4	Desafinado (45 rpm issue)	2:00

Keter Betts - Bass
Charlie Byrd - Guitar
Gene Byrd - Bass, Guitar
Buddy Deppenschmidt 	- Drums
Stan Getz - Sax (Tenor)
Antonio Carlos Jobim - Guitar
Bill Reichenbach - Drums

Partly because of its Brazilian collaborators and partly because of "The Girl From Ipanema," Getz/Gilberto is nearly always acknowledged as the Stan Getz bossa nova LP. But Jazz Samba is just as crucial and groundbreaking; after all, it came first, and in fact was the first full-fledged bossa nova album ever recorded by American jazz musicians. And it was just as commercially successful, topping the LP charts and producing its own pop chart hit single in "Desafinado." It was the true beginning of the bossa nova craze, and introduced several standards of the genre (including Ary Barroso's "Bahia" and Antonio Carlos Jobim's "Desafinado" and "Samba de Uma Nota Só" [aka "One Note Samba"]). But above all, Jazz Samba stands on its own artistic merit as a shimmering, graceful collection that's as subtly advanced -- in harmony and rhythm -- as it is beautiful. Getz and his co-billed partner, guitarist Charlie Byrd -- who was actually responsible for bringing bossa nova records to the U.S. and introducing Getz to the style -- have the perfect touch for bossa nova's delicate, airy texture. For his part, Byrd was one of the first American musicians to master bossa nova's difficult, bubbling syncopations, and his solos are light and lilting. Meanwhile, Getz's playing is superb, simultaneously offering a warm, full tone and a cool control of dynamics; plus, Byrd's gently off-kilter harmonies seem to stimulate Getz's melodic inventiveness even more than usual. But beyond technique, Getz intuitively understands the romanticism and the undercurrent of melancholy inherent in the music, and that's what really made Jazz Samba such a revelatory classic. Absolutely essential for any jazz collection. ---Steve Huey, Rovi

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Stan Getz & Joao Gilberto - The Best Of Two Worlds (1975)

2009-10-20T12:01:16Z

Stan Getz & Joao Gilberto - The Best Of Two Worlds (1975)


1. Double Rainbow 
2. Aguas De Março 
3. Ligia 
4. Falsa Baiana 
5. Retrato Em Branco E Preto 
6. Izaura 
7. Eu Vim Da Bahia 
8. Joao Marcello 
9. E Preciso Perdoar 
10. Just One Of Those Things

Ray Armando - Percussion
Rubens Bassini - Percussion
Sonny Carr - Percussion
Oscar Castro-Neves - Guitar
Albert Dailey - Piano
Heloisa Buarque De Hollanda - Vocals
Stan Getz - Sax (Tenor)
João Gilberto - Guitar, Percussion, Vocals
Billy Hart - Drums
Clint Houston - Bass
Airto Moreira - Percussion
Steve Swallow - Bass
Grady Tate 	Drums

This 1976 album by the late saxophonist Stan Getz is a reunion of sorts with Joao Gilberto, the great Brazilian guitarist and singer, and the music of Antonio Carlos Jobim (or Tom Jobim), along with the stylish and nonintrusive arrangements of Oscar Carlos Neves. The trio changed the world in the early 1960s with its Getz/Gilberto albums. With Neves, they almost did it again, but with all of the crap falling down around them in the musical climate of the mid-'70s -- fusion, disco, overblown rock, and the serious decline of jazz -- this disc was criminally overlooked at the time. Joining these four men in their realization of modern bossa and samba are drummers Billy Hart and Grady Tate, percussionists Airto, Ray Armando, and Ruben Bassini, bassist Steve Swallow, pianist Albert Dailey, and Heliosoa Buarque de Hollanda singing the English vocals as a fill-in for Astrud Gilberto -- who was not invited to join this session and would have declined if she were. The most beautiful thing about this recording is that Jobim -- whose song forms had reached such a degree of sophistication that he was untouchable -- chose to write all of his lyrics in English (songwriter Gene Lees also wrote many in English). This is something that did not come naturally or effortlessly to Jobim, but sounds as if it did. Jobim's poetry on tracks such as "Waters of March," accompanied by Getz's lushly romantic saxophones and Gilberto's crooning nylon-string guitar, are so sensuous they radiate heat and humidity. Elsewhere, on the Lees/Jobim co-write "Double Rainbow," Gilberto's singing carries the soft bossa into the middle of American jazz phraseology and builds a bridge so airy and flexible it can never be undone. There is also a barn-burning samba in "Falsa Bahiana," which slips and shimmies along the 6/8 line and sweeps itself up in couplets in the solos. In all, this is as fine a bossa album as Getz ever recorded, standing among his finest works, and without a doubt equals his earlier collaborations with Jobim and Gilberto. ---Thom Jurek, Rovi

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Stan Getz & Kenny Barron – People Time (1991)

2010-07-19T14:35:27Z

Stan Getz & Kenny Barron – People Time (1991)


   1. East of the Sun (And West of the Moon)
   2. Night and Day
   3. I’m Okay
   4. Like Someone in Love
   5. Stablemates
   6. I Remember Clifford
   7. Gone With the Wind
   8. First Song (For Ruth)
   9. There Is No Greater Love
  10. The Surrey With The Fringe On Top
  11. People Time
  12. Softly, As In A Morning Sunrise
  13. Hush-A-Bye
  14. Soul Eyes

Stan Getz - sax (tenor)
Kenny Barron - piano

Stan Getz's final recording, a two-CD live set of duets with pianist Kenny Barron that was cut just three months before his death, finds the great tenor in surprisingly creative form despite an occasional shortness of breath. Getz's tone is as beautiful as ever and he does not spare himself on this often exquisite set. His version of Charlie Haden's "First Song" is a highlight but none of the 14 performances are less than great. A brilliant farewell recording by a masterful jazzman. ---Scott Yanow, Rovi

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Stan Getz - Best Of The West Coast Sessions (1997)

2015-05-15T15:46:53Z

Stan Getz - Best Of The West Coast Sessions (1997)


1 	Four 	7:32
2 	Of Thee I Sing 	4:08
3 	A Handful Of Stars 	3:40
4 	Suddenly It's Spring 	6:56
5 	Blues For Mary Jane 	7:50
6 	You're Blase 	4:10
7 	How About You? 	7:08
8 	East Of The Sun (And West Of The Moon) 	6:17
9 	But Beautiful 	5:20
10 	S-h-i-n-e 	8:53

Stan Getz - Sax (Tenor)
Conte Candoli  - Trumpet
Lou Levy – Piano
Leroy Vinnegar 	- Bass
Shelly Manne - Drums
Stan Levey - Drums

In 1996 when Verve released a three-CD set that fully documented six sessions from the 1955-57 period by tenor saxophonist Stan Getz, they also came out with this one-CD sampler. Most Getz fans will prefer the former, which has 37 performances (as opposed to the latter's ten), but many of the main highlights are on this disc, including a heated rendition of "Shine," "Four," "A Handful Of Stars" and "East Of The Sun." The Lou Levy Trio and (on a few numbers) trumpeter Conte Candoli work quite well with the cool-toned tenor. ---Scott Yanow, Rovi

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Stan Getz - Capitan Marvel (1974)

2011-01-25T09:52:35Z

Stan Getz - Capitan Marvel (1974)


1 La Fiesta
2 Five Hundred Miles High 
3 Captain Marvel             play
4 Times Lie
5 Lush Life                  play
6 Day Waves
7 Crystal Silence
8 Captain Marvel
9 Five Hundred Miles High

Personnel:
Stan Getz- tenor saxophone; 
Chick Corea- keyboards; 
Stanley Clarke- bass; 
Tony Williams- drums; 
Airto Moreira- percussion

In the early 1970s, jazz tenor sax icon Stan Getz was clearly not standing still. While some other players of his generation were content to do (and re-do) what they'd done in the past, Getz got together with some of the best cutting-edge talent, all of whom (Corea, Williams, Moreira) had been in the bands of fellow legend Miles Davis. Also featured is Stanley Clarke, here only 20 years old and about to become one of the jazz fusion movement's biggest stars.

Except for the lovely Billy Strayhorn ballad "Lush Life," all the compositions are by Corea, and would later on be heard in his own Return to Forever band. There's an infectious, joyous, Latin-tinged lilt to the tunes, which inspires Getz to some of the best playing of his career. His tone retains the "cool" by which he's been characterized--but he blows hot, too. Getz's playing on "500 Miles High" is focused ferocity. This album, unavailable for years, is one of Getz's (and Corea's) best.

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Stan Getz - Festyval Tent, Wiessen 1982

2010-02-02T11:15:58Z

Stan Getz - Festyval Tent, Wiessen 1982


01. Title 6:23 
02. Title 8:50 
03. Title 7:58 
04. Arigen 6:00 
05. Lush Life 2:02 
06. Lush Life continued 2:44 
07. Title 7:30 
08. Title 10:49 
09. Announcer SG/Title 4:20 
10. Have You Met Miss Jones 4:16

Stan Getz,ts 
Jim Mc Neely,p 
Marc Johnson,b 
John ?,dr

Stan Getz July 17, 1982 
Festyval Tent, Wiessen

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Stan Getz - Hannover, Germany 1971

2010-02-01T23:51:46Z

Stan Getz - Hannover, Germany 1971


1 Con Alma 
2 Here's That Rainy Day 
3 Meadows 
4 Nica's Dream

Stan Getz (ts); 
Kurt Edelhagen Orchestra: 
Shake Keane, Rick Kiefer, Hanne Wilfert, Mecki Schaening (tp), 
Peter Herbolzheimer, Jiggs Whigham, Manfred Gätjens, Nick Hauk (tb), 
Heinz Kretschmar, Manfred Lindner (as), 
Wilton Gaynair, Karl Drevo (ts), 
Kurt Aderhold (bs), 
Bora Rokovic (p, org), 
Dieter Reith (org), 
Wolfgang Schlüter (vib), 
Peter Trunk (b), 
Ronnie Stephenson (dr).

"Funkhaus", Hanover (Germany), October 26, 1971.

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Stan Getz - Moments In Time (2016)

2016-05-06T16:00:19Z

Stan Getz - Moments In Time (2016)


1. Summer Night (9:18)
2. O Grande Amore (6:50)
3. Infant Eyes (7:45)
4. The Cry of the Wild Goose (8:23)
5. Peace (5:06)
6. Con Alma (12:36)
7. Prelude To A Kiss (5:42)
8. Morning Star (8:42)

Joanne Brackeen - Piano
Stan Getz - Sax (Tenor)
Billy Hart - Drums
Clint Houston - Bass

As a companion to Getz/Gilberto '76, on February 19, 2016 Resonance Records will also release the deluxe CD Moments in Time. This album was also recorded at the Keystone Korner, the same week as Getz/Gilberto '76 and features Stan Getz's same adventurous rhythm section. Moments in Time and Getz/Gilberto '76 document the only time this dynamic quartet recorded together.

The accompanying 28-page book includes essays by producers Feldman and Barkan, journalist Ted Panken, a tribute by Steve Getz, interviews with Brackeen and Hart and statements from saxophonists Branford Marsalis and Joshua Redman. The album cover is beautifully designed by the acclaimed Japanese artist Takao Fujioka.

Ted Panken describes Moments in Time as capturing the artists on this recording as a "unit of thirty-something masters-in-the-making." Keystone's Barkan recalls: "Stan explained to me quite a few times backstage at Keystone Korner that 'I have never felt as free and as totally supported as I do with this band with Joanne Brackeen, Clint Houston, and Billy Hart. They are happy and free to go with me wherever I go . . .'" Barkan relates that Getz frequently told him that he felt the most comfortable at the famed San Francisco club, more than he did at any other club.

Brackeen talks about playing with Getz in her interview with Feldman: "I think that it kind of really also displays the quartet at its best, which we rapidly became and stayed. And he had to be really daring to hire us. He already had his thing. He was already famous. He didn't have to have this band. And this band was crazy! I mean, we would do anything and everything we possibly could. We weren't just there as accompaniments . . . And then you hear how he played on it, it's so lyrical. He doesn't play one note that he doesn't mean. At any time. That's the one thing I guess that I would say about him that was so unique to me. And he also talked that way, when he was speaking."

The release features eight tracks, including Antonio Carlos Jobim's "O Grande Amor," Wayne Shorter's "Infant Eyes," Horace Silver's "Peace," Dizzy Gillespie's "Con Alma," Jimmy Rowles's "Morning Star" and others. These tunes were staples of Getz's repertoire and remained so for many years. Pre-order digitally via iTunes and receive three tracks instantly: "Summer Night," "The Cry of the Wild Goose" and "Peace."

In his contribution to the album package for Moments in Time, saxophonist Joshua Redman pays homage to Getz: "His virtuosity he could play any tune in any key at any tempo, with command and control and a sense of relaxation." And he further celebrates Getz's". . . incredible storytelling ability the natural, organic logic in the flow of his phrases and ideas." Resonance Records is pleased to unearth these notable historic recordings of Stan Getz/João Gilberto and the Stan Getz Quartet and to share them now with the public. --- resonancerecords.org

Recorded the same week as Getz/Gilberto '76, Resonance Records' companion album, 2016's Moments in Time, captures saxophonist Stan Getz performing live at San Francisco's Keystone Korner in May 1976. To celebrate the release of Getz's reunion album with Brazilian singer/guitarist João Gilberto, 1976's The Best of Two Worlds, the saxophonist booked a week of shows at the Keystone backed by his quartet and featuring Gilberto. Whereas Getz/Gilberto '76 showcases the Gilberto performances, Moments in Time finds Getz appearing alone with his band, featuring pianist Joanne Brackeen, drummer Billy Hart, and bassist Clint Houston. Despite the wealth and fame he accumulated from his initial 1960s bossa nova albums, Getz remained a creatively restless, forward-thinking artist over the coming years. His band here, arguably one of his best of the period, also bore this forward-looking vision out with performances that straddled the line between lyrical intimacy and aggressive, extroverted improvisation. One can also see where Getz's taste was at the time based on his song choices, pulling together standards like "Summer Night" with more harmonically layered pieces like Wayne Shorter's languid and sultry "Infant Eyes" and the funky Kenny Wheeler composition "The Cry of the Wild Goose." As with Getz/Gilberto '76, Moments in Time is a thoughtfully curated package featuring not only some of Getz's best live performances of the period, but also liner notes from producer Zev Feldman, Keystone Korner club owner Todd Barkan, and others, as well as interviews with bandmembers Hart and Brackeen. --- Matt Collar, Rovi

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Stan Getz - Nobody Else But Me (1964)

2017-12-04T15:18:57Z

Stan Getz - Nobody Else But Me (1964)


1 	Summertime 	6:58
2 	6-Nix-Quix-Flix 	6:26
3 	Here's That Rainy Day 	5:07
4 	Waltz For A Lovely Wife 	6:49
5 	Out Of Focus 	7:07
6 	Nobody Else But Me 	4:11
7 	Sweet Sorrow 	6:03
8 	Little Girl Blue 	3:38
9 	What Is This Thing Called Love 	4:24
10 	Waltz For A Lovely Wife 	3:10

Bass – Gene Cherico 
Drums – Joe Hunt
Tenor Saxophone – Stan Getz
Vibraphone – Gary Burton

At a time when Stan Getz was exploding in popularity via the bossa nova craze of the mid-'60s, he was also touring with a quartet featuring a fresh-faced 21-year-old vibraphonist from Boston, Gary Burton. A short Canadian tour introduced Burton to a wider audience, but the pitfalls of their unmatched personalities resulted initially in documented tension between these major players. Smoothing things out, Getz and Burton made this lone recording together, displaying both their flaws and compatibility. The vibist is far back in the mix, and is a perfunctory voice for the music in general. Though softer in tone, Getz was ultimately demanding of the spotlight. When unable to find a compatible pianist or guitarist, Burton was chosen as an afterthought. Happily, it was eventually a good move, as there are some very pleasant, energetic, and even brilliant jazz passages on this 1964 date, in many ways a prelude to the early-'70s music that Getz would record on his album Captain Marvel with parallel melodicist Chick Corea. On this mixed date of standards and originals, Getz and Burton fully acknowledge their leader-sideman division-of-labor relationship in less subtle, instructed, and direct ways. Examples of this are telling as the strong-willed fluttery Getz plays a ballad like "Here's That Rainy Day" or goes full throttle on "What Is This Thing Called Love?" "Waltz for a Lovely Wife" is included with a full-length and much shorter 45 version, a free-flowing easy swing with Getz sounding more animated. The quirkiest tunes are "Summertime," an ear-catching treatment, unusual in the 4/4 construct from bassist Gene Cherico that seems to warp time, and Burton's bouncy 6/8 original "6-Nix-Quix-Fix," an advanced, progressive, and choppy pre-Captain Marvel composition. Burton's other composition, "Out of Focus," clearly is not blurred, starting off in an arrhythmic 6/8 Latin mood, then settling down for all to join in. It is the Mike Gibbs-penned "Sweet Sorrow," clearly brought to the repertoire by Burton, that presents unusual harmonic phrasings that sound a bit awkward. The serene and purely sentimental "Little Girl Blue" has the group sans drummer Joe Hunt in a colorful, developing, and lingering musical photograph, while the title track sounds like the band is really coming together, with a more mellow Getz acquiescing to an interactive mindset. Because of the enormous success of Getz's Brazilian music, this was not issued by Verve Records until 1994, with Burton's full endorsement via the liner notes he wrote (he says Getz was indeed "worried that bossa nova was burying his jazz identity"), and three years after the passing of Getz. For certain an intriguing date from a one-off band, it's good to hear what this quartet started off as, and firmly suggests what the group might have been. ---Michael G. Nastos, AllMusic Review

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