Stan Getz plays on all the tracks:
1. Early Autumn (Woody Herman Orchestra, 1948)
2. Parker 51 (Al Haig - Piano, Jimmy Raney - Guitar, Teddy Kotick
- Bass, Tiny Khan - Drums, 1952)
3. Moonlight In Vermont (Johhny Smith - Guitar, Sanford Gold - Piano,
Eddie Safranski - Bass, Don Lamond - Drums, 1952)
4. East Of The Sun (Conte Candoli - Trumpet, Lou Levy - Piano, Leroy
Vinnegar - Bass, Shelley Manne - Drums, 1955)
5. Tour's End (Oscar Peterson - Piano, Herb Ellis - Guitar, Ray Brown
- Bass, 1957)
6. Once Upon A Time (Eddie Sauter Orchestra, 1961)
7. Desafinado (João Gilberto - Guitar & Vocal, Antonio
Carlos Jobim - Piano, Tommy Williams - Bass, Milton Banana - Drums,
1963)
8. The Girl From Ipanema (João Gilberto - Guitar & Vocal,
Antonio Carlos Jobim - Piano, Tommy Williams - Bass, Milton Banana
- Drums, Astrud Gilberto - Vocal, 1963)
9. Summertime (Gary Burton- Vibraphone, Gene Cherico - Bass, Joe Hunt
- Drums, 1964)
10. Litha (Chick Corea - Piano, Ron Carter - Bass, Grady Tate - Drums,
1967)
11. Blood Count (Kenny Barron - Piano, Rufus Reid - Bass, Victor Lewis
- Drums, 1987)
12. Night And Day (Kenny Barron - Piano, 1991)
Woody Herman always led exciting bands and used many of the finest
musicians of the day - one of his best was formed in 1948. In the
saxophone section was twenty-one year old Stan Getz who eventually
would be acclaimed as one of the 'jazz elite' by his peers and jazz
fans throughout the world. Although by then he had already played
with Jack Teagarden and Stan Kenton, there is one particular track
on the LP 'Keeper of the Flame' recorded by Woody in 1948 that brought
the name Getz to the fore as a tenor player with an exceptional tone
and someone who could interpret a melody. When the record was released
'Early Autumn' featuring the seductive and expressive tenor sound
of Getz was an immediate hit - his career had taken off. His future
playing predominantly concentrated on playing with small groups many
of which he led himself. When 'Parker 51' was released he was well
established and besides his unique sound he was developing his phrasing
and technique - both of which he worked on throughout his career.
By the time 'Tour's End,' a Getz composition, was recorded he was
building up complex phrases and repeating or extending them with a
flourish of notes. His runs were often over several bars, or alternatively,
he relied on a minimum of notes to put across an idea at the same
time swinging like mad. He couldn't have been in better company than
here with the Oscar Peterson Trio. He was a master of the ballad and
'Moonlight In Vermont' reflects exactly what alerted people to him
in the first place. Included as Tracks 7 & 8 are part of his excursions
into the music of Brazil and especially that of Antonio Carlos Jobim.
'Desafinado' and 'The Girl From Ipanema' were 'smash hits' both of
which some forty years later still have immense appeal.
Eddie Sauter's 'Once Upon A Time' is part of the seven-part suite
for saxophone written after a request by Getz. It takes a brave man
to tackle this kind of material but Getz takes it in his stride displaying
all the facets of his experience.
If one was only familiar with his earlier recordings it would be easy
to wonder how he could progress further, but progress he did and we
are fortunate to have many recordings made throughout his career building
up to the last and, in the opinion of many, finest years. The climax
is evident on 'Night and Day' that is taken from the CD set 'People
Time.' It was recorded three months prior to Getz's death and features
only one other musician, pianist Kenny Barron. The feeling and understanding
between these two jazz masters is amazing.
Jack Ashby
CD Reviews
Verve Blue
Note
