Stan Getz - The Girl From Ipanema

Styles: Saxophone Jazz
Year: 2023
Time: 122:13
File: MP3 @ 320K/s
Size: 283,6 MB
Art: Front

(2:47) 1. The Girl From Ipanema (Single Version) (Feat. Astrud Gilberto & Antonio Carlos Jobim)
(2:20) 2. Corcovado (Quiet Nights Of Quiet Stars) (Single Version) (Feat. Astrud Gilberto & Antonio Carlos Jobim)
(6:10) 3. Samba De Uma Nota So
(3:36) 4. Só Danço Samba
(4:48) 5. Samba Triste
(5:05) 6. Para Machuchar Meu Coracao
(4:13) 7. Desafinado
(2:29) 8. O Pato
(3:39) 9. Saudade Vem Correndo (Feat. Maria Toledo)
(2:32) 10. Eu E Voco (Live At Café Au Go-go,1964) (Feat. Astrud Gilberto)
(2:56) 11. Vivo Sohando (Stereo Version)
(2:08) 12. Sambalero (Feat. Maria Toledo)
(5:25) 13. O Grande Amor (Feat. Antonio Carlos Jobim)
(3:08) 14. Samba Da Minha Terra (Live At Carnegie Hall/1964)
(5:50) 15. Desafinado
(2:46) 16. Doralice (Stereo Version) (Feat. Antonio Carlos Jobim)
(4:11) 17. Menina Flor (Feat. Maria Toledo)
(3:07) 18. One Note Samba (Live At Café Au Go-go,1964) (Feat. Astrud Gilberto)
(6:42) 19. Bahia
(3:23) 20. Insensatez
(5:21) 21. Winter Moon (Feat. Laurindo Almeida)
(4:00) 22. Meditacao (Live At Carnegie Hall/1964)
(6:55) 23. O Morro Nao Tem Vez
(3:32) 24. Samba Dees Days
(5:42) 25. Menina Moca
(2:43) 26. Mania De Maria (Feat. Maria Toledo)
(3:40) 27. E Luxo So
(2:09) 28. Bim Bom (Live At Carnegie Hall/1964)
(4:13) 29. Corcovado (Quiet Nights Of Quiet Stars) (Feat. Astrud Gilberto & Antonio Carlos Jobim)
(6:31) 30. The Girl From Ipanema

Bop saxophonist Stan Getz was almost single-handedly responsible for breaking bossa nova big in the United States. Classically trained jazz guitarist Charlie Byrd had toured in Brazil and fell under the sway of the burgeoning bossa nova an amalgam of samba and jazz influences movement there. He brought some recordings of the music back to Getz, who quickly went to work making arrangements with Verve Records for the landmark album that the two musicians eventually recorded in 1962, Jazz Samba.

Included on the sessions for the album was Antonio Carlos Jobim, the legendary bossa nova guitarist, pianist, and composer of many of the album's songs. Getz and Byrd each went on to record more records in the bossa nova oeuvre, but none were as commercially successful as the 1963 hit Getz/Gilberto, with Brazilian guitarist and singer Joao Gilberto. That album included the Jobim-penned, worldwide crossover smash "The Girl From Ipanema." Long since a standard, it is amusing to note that "The Girl From Ipanema" did not include the famous sultry vocals of Gilberto's wife, Astrud, until the last minute. Indeed, she was not even credited on the original release of the record.

Over the lilting samba rhythms and around Getz's cool sax lines, Joao Gilberto had laid down his Portuguese lyrics on the track in his trademark soft and simple voice, but producer Creed Taylor, sensing the commercial possibilities of the song, requested an English adaptation of some of the lines. Astrud, who was just along for the visit to New York, was the only Brazilian who understood English enough to sing the adaptation by famed lyricist Norman Gimbel. With no musical background, she stepped to the microphone and sang the words Gimbel had adapted (they are not a literal translation) with an authentic sense of innocence and austerity, the perfect mood for the lyrics: "Tall and tan and young and lovely/The girl from Ipanema goes walking/And when she passes each one she passes goes 'ahhh'/When she walks she's like a samba/That swings so cool and sways so gently/That when she passes each one she passes goes 'ahhh'/Oh, but he watches so sadly/How can he tell her he loves her/Yes, he would give his heart gladly/But each day when she walks to the sea/She looks straight ahead not at he."

Like all of Jobim's compositions, "The Girl From Ipanema" aims directly at the heart and soul with lyrics that celebrate the essence of life, the Zen beauty of nature and love. One of the other composers of the song is Vinicius de Moraes, another legendary figure in Brazilian music. de Moraes had been writing poetry, music, and lyrics since he was 14 and was established by the '30s. He had collaborated with Jobim on a number of projects already by the time they teamed up on this song. The Gilberto-Getz collaboration is the definitive version of the song, with intimate, soft-spoken, and ultra-present vocals and a subdued rhythm section, but "The Girl From Ipanema" has been recorded hundreds of times. Notable among the covers is Nat King Cole's, from L-O-V-E (1965), which swings the rhythm, all but ignoring the bossa nova origins of the song
.
It is effective in its mellow sophistication, Cole retaining the intention of the song with his Americanized arrangement. Included is a great trumpet solo over a key modulation. Count Basie, on Our Shining Hour (1965) with Sammy Davis, keeps a Latin feel to the song, but adds a swinging, American big band style on the choruses. Ella Fitzgerald recorded a more up-tempo reading, with guitarist Joe Pass soloing throughout. But this recording from Ella Abraca Jobim comes off as light jazz. Oddly, it is the master stylist himself, Frank Sinatra, who stays closest to the original, keeping his improvisations to a minimum and singing it in an understated style. He even features Jobim himself, singing a verse in Portuguese off in the background, hauntingly. It was released in 1967 on Francis Albert Sinatra and Antonio Carlos Jobim. By Bill Janovitz
https://www.allmusic.com/song/the-girl-from-ipanema-mt0003013967

The Girl From Ipanema

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Stan Getz - Apasionado

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 50:41
Size: 116,7 MB
Art: Front

(8:06) 1. Apasionado
(7:06) 2. Coba
(6:07) 3. Waltz For Stan
(4:15) 4. Espanõla
(5:26) 5. Madrugada
(4:59) 6. Amorous Cat
(9:00) 7. Midnight Ride
(5:39) 8. Lonely Lady

In the liner notes to this album, Stan Getz comments about how producer Herb Alpert showed him aspects of recording he had never experienced before. In this case, it's how to over-produce without overwhelming a lead soloist, as Alpert loads up this date with synthesizer players, electric instruments, and effects as a backdrop for the ultra-cool tenor of Getz. While not going overboard, it would have been nice to hear this music without the caramel-thick arrangements, leaving just Getz and a rhythm section to play sans the unnecessary sugarcoating.

Initially released about a year before Getz passed away, the end result is a lazy and far too sweet group of pieces that muck up romance in a smothering fashion. Where string arrangements can sound beautiful, the sleepy synths on "Waltz for Stan" and echoplexed sax during "Madrugada" and especially the nine-minute ambling "Midnight Ride" are not just a trifle overbearing. Eddie del Barrio's "Coba" fares better in a fusion-on-the-rock-side mode mixed with Brazilian tropicalia, while the title track utilizes an acoustic big band mixed with synths and electric piano in a ballad-to-light-samba-to-heavy-beats sauce.

"Española" starts with an out of tune electric bass guitar followed by some clichéd electric guitar from Michael Landau, while "Amorous Cat" reflects its title in a light funk rhythm. Some very good players are included, like drummer Jeff Porcaro (Toto), percussionist Paulinho Da Costa, acoustic guitarist Oscar Castro-Neves, and keyboardist Kenny Barron, with George Bohanon and Oscar Brashear in the big-band horn section. Otherwise, this recording is far from essential music made by Stan Getz, more suitable for mood music elevator wallpaper than a substantive listening experience. By Michael G. Nastos
https://www.allmusic.com/album/apasionado-mw0000655019

Personnel: Tenor Saxophone – Stan Getz; Bass – Jimmy Johnson ; Drums – Jeff Porcaro; Electric Guitar – Michael Landau; Oscar Castro Neves; Piano – Kenny Barron; Saxophone – William Green; Synthesizer, Electric Piano – Mike Lang; Trombone – George Bohanon, Reginald Young; Trumpet – Noland Smith Jr., Oscar Brashear, Rick Baptist; Tuba – Tom Johnson

Apasionado

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Al Haig - Al Haig Meets Master Bop Saxes

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 71:27
Size: 164,2 MB
Art: Front

(2:36)  1. Light Gray
(2:48)  2. Stoned
(2:45)  3. Matter and Mind
(2:36)  4. The Toup
(3:05)  5. In a Pinch
(3:07)  6. It's the Talk of the Town
(2:51)  7. Five Star
(2:29)  8. Sugar Hill Bop
(3:28)  9. Twisted
(3:21) 10. Southside
(4:38) 11. Easy Living
(4:07) 12. Sweet Lorraine
(2:34) 13. Pardon My Bop
(3:02) 14. As I Live and I Bop
(2:44) 15. Interlude in Bebop
(2:42) 16. Diaper Pin (Pinhead)
(2:26) 17. Skull Buster
(2:43) 18. Ante Room
(2:47) 19. Poop Deck
(3:20) 20. Pennies from Heaven
(2:49) 21. Indian Summer
(2:57) 22. Long Island Sound
(2:42) 23. Mar-cia
(2:39) 24. Crazy Chords

Al Haig was one of the primal bop pianists. He endures in perpetuity with the spirits of George Wallington, Joe Albany, Dodo Marmarosa, Bud Powell and Elmo Hope. In the year 2000, Definitive Classics came up with a beautiful album of Haig's collaborations with tenor saxophonists Wardell Gray and Stan Getz, recorded in 1948 and 1949. Gray's genius is at once refreshing, his logic irresistible. Getz, like Gray, was profoundly influenced by Lester Young, and Haig was in many respects the ideal collaborator for their brand of bop-to-cool progressive jazz. That's why this music feels so pleasant and natural up inside of your head. Putting Getz and Gray together with Haig as the backbone of the collection makes all the sense in the world. This is superlatively hip music, perfect for cooking, booking, commuting, computing, operating heavy machinery or slacking off and cutting loose like there's no tomorrow.
~ arwulf arwulf; http://www.allmusic.com/album/al-haig-meets-master-bop-saxes-mw0000609243

Personnel:  Al Haig (piano), Wardell Gray, Stan Getz (saxophone)

Al Haig Meets Master Bop Saxes

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Herb Alpert - Midnight Sun

Styles: Trumpet Jazz

Year: 1992

File: MP3@320K/s

Time: 51:28

Size: 119,1 MB

Art: Front

(6:06)  1. Midnight Sun

(3:54)  2. All The Things You Are

(5:18)  3. Someone To Watch Over Me

(5:53)  4. In The Wee Small Hours

(4:22)  5. Friends

(6:52)  6. A Taste Of Honey

(5:47)  7. Mona Lisa

(5:09)  8. I've Grown Accustomed To Her Face

(3:51)  9. Silent Tears And Roses

(4:13) 10. Smile

Having recently sold A&M to PolyGram for a cool $500 million, and with his short but hugely affecting association with the late Stan Getz on his mind, Herb Alpert finally took the plunge and recorded what he called a jazz album, his last for the label he co-founded. But this would not be a conventional blowing session; rather it is an intimate, inward, wee-small-hours kind of album where, muted and not, Alpert's horn sighs, laments and sings over a conventional rhythm section and underneath a blanket of lush strings. Without a doubt, Miles Davis in his introspective '50s mode is Herb's primary inspiration always has been  and he uses space between the notes in similar ways, but always with his own tone and distinct phrasing. Two old favorites from the TJB days, "A Taste of Honey" and "I've Grown Accustomed to Her Face," are revisited; "Taste" is completely transformed into a dark elegy that breaks into the light before turning back to the shadows. One track, "Friends," was left over from 1990, where Herb was joined by a luminous-sounding Getz; they really play like intimate friends together. This is not a terribly spontaneous album Alpert is too much the master of structure to leave very much to chance but it creates a mood of melancholy serenity that is difficult to resist.
By Richard S.Ginell http://www.allmusic.com/album/midnight-sun-mw0000612559

Personnel: Herb Alpert (vocals, trumpet); Larry Carlton, John Pisano, Barry Zweig (guitar); Stan Getz (tenor saxophone); Frank Collett, Eddie del Barrio (piano); Monty Budwig (bass); Harvey Mason, Jeff Hamilton (drums).

Midnight Sun

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Stan Getz, Zoot Sims, Al Cohn, Allen Eager, Brew Moore - The Brothers

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 43:50
Size: 102,3 MB
Art: Front

(3:12) 1. Five Brothers
(3:36) 2. Five Brothers (Alternate Take)
(3:54) 3. Battle Of The Saxes
(3:48) 4. Four And One Moore
(3:33) 5. Four And One Moore (Alternate Take)
(3:23) 6. Battleground
(3:17) 7. Battleground (Alternate Take)
(4:35) 8. The Red Door
(4:22) 9. Zootcase
(4:28) 10. Tangerine
(5:37) 11. Morning Sun

The music on this LP recalls the airy "Four Brothers" sound that tenor saxophonists Stan Getz, Zoot Sims and Herbie Steward, and baritone saxophonist Serge Charloff, plied in Woody Herman's band of 1947. For this outing, Steward and Charloff exit, and four become five with the addition of tenor luminaries Al Cohn, Brew Moore, and Allen Eager. The set appropriately kicks off with Gerry Mulligan's "Five Brothers," a tune reminiscent of Jimmy Giuffre's original "Four Brothers" in its fluid and bouncy arrangement.

Three other attractive and similarly disposed originals (one more by Mulligan and two by Cohn) complete the saxophone session from 1949, all featuring swinging statements by each soloist. A 1952 sextet date led by Sims and Cohn is also included, offering up another round of original and buoyantly swinging cuts, bolstered by lively contributions from trombonist Kai Winding and solid rhythmic support by pianist George Wallington, bassist Percy Heath, and drummer Art Blakey. A fine release that nicely showcases the cool, proto-West Coast bop forged by both these soloists and Miles Davis.~ Stephen Cook https://www.allmusic.com/album/the-brothers-mw0000652734

Personnel: Piano – George Wallington, Walter Bishop, Bass – Gene Ramey , Percy Heath; Drums – Art Blakey, Charlie Perry; Tenor Saxophone – Al Cohn, Allen Eager, Brew Moore, Stan Getz, Zoot Sims; Trombone – Kai Winding

The Brothers

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Antonio Carlos Jobim - Verve Jazz Masters 13

Styles: Vocal, Bossa Nova
Year: 1993
File: MP3@320K/s
Time: 56:34
Size: 131,4 MB
Art: Front

(4:17) 1. Corcovado (Quiet Nights Of Quiet Stars)
(2:39) 2. Vivo Sonhando (Dreamer)
(3:40) 3. So Danco Samba
(2:47) 4. Desafinado (Off Key)
(3:35) 5. Aguas De Marco (Waters Of March)
(5:29) 6. O Grande Amor
(2:53) 7. Agua De Beber
(3:15) 8. Chovendo Na Roseiro (Double Rainbow)
(6:55) 9. O Morro Nao Tem Vez
(2:12) 10. Fascinating Rhythm
(2:57) 11. Insensatez (How Insensitive)
(3:11) 12. Inutil Paisagem (Useless Landscape)
(3:25) 13. O Morro não tem Vez
(2:06) 14. Por Toda Minha Vida
(2:43) 15. Triste
(4:23) 16. Borzeguim

Antonio Carlos Jobim's entry in the exhaustive VERVE JAZZ MASTERS set of historical reissues is one of the best single-disc Jobim anthologies available. It's not got much in the way of historical range, since it stops in the mid-'60s, just before Jobim left Verve for Reprise and then A&M. However, since Jobim's Verve years were, in the minds of many, his career highpoint, VERVE JAZZ MASTERS 13 distills the best of his most artistically and commercially successful period. Nearly all of Jobim's greatest songs are here in their definitive versions, and the whole is sequenced thoughtfully, so that the disc has a logical and delightful flow. This is magnificent stuff, as well as being the birth of bossa nova. https://www.allmusic.com/album/verve-jazz-masters-13-mw0000112351

Personnel: Antonio Carlos Jobim - Vocal, Guitar, Piano; Stan Getz - Tenor Saxophone; Joao Gilberto - Guitar, Vocal; Tommy Williams - Bass; Luiz Bonfa Bass; George Duvivier Bass; Paulo Ferreira Drums; Paulo Braga Drums; Paulo Jobim Guitar, Vocal, Producer

Verve Jazz Masters 13

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Kenny Clarke, Francy Boland Big Band, Stan Getz - Change Of Scenes

Styles: Jazz, Big Band
Year: 1971
File: MP3@320K/s
Time: 39:12
Size: 90,1 MB
Art: Front

(6:03) 1. Extravagances
(5:52) 2. Symptones
(9:18) 3. Quiproquos
(4:47) 4. Escarmouches
(6:33) 5. Touchstone
(6:36) 6. Provocations

This amazing album was the last recording by the Clarke-Boland Big Band and features six original compositions by Francy Boland with Stan Getz as featured soloist. The album was originally released only in Europe and its current CD re-release is now out of print, which is regrettable because it features some of the finest big band compositions and performances of all time. Francy Boland, now semi-retired and living in Switzerland, has never received his due as a jazz composer. Part of this has to do with the fact that his compositions and arrangements always swing, regardless of their harmonic or contrapuntal complexity; and therefore, critics have mistaken him for a mainstream jazz composer. Another reason may be due to the fact that the C-BBB had limited exposure in America during its 12-year existence.

The first piece, "Extravagances," features a 12-tone theme and excellent solos by Getz on tenor, Sahib Shihab on alto flute and Tony Coe on clarinet. This work, along with its companion pieces, utilizes not only a lot of highly complex and dissonant harmonies, but also frequent changes of meter and tempi. The next piece, "Symptones," features Herb Geller on oboe with some fine backup by flutes and bass. Geller's multifaceted woodwind talents are also put to good use in "Quidproquos" and "Escarmouches" where he provides some outstanding solos on the English horn. Fans of Stan Kenton will appreciate the album's finale, Provocations," which has many similarities to the big production numbers featured by the Kenton bands of the 1970s as well as some of the symphonic complexities of the Innovations Orchestra of the 1950s. Albert Mandelsdorff on trombone sounds eerily like Kenton lead trombonist Dick Shearer on the out chorus. Kudos need to go to Stan Getz who instigated this collaboration and proved himself to be more than up to the challenge of Francy Boland's difficult and highly original charts.~ William Grim https://www.allaboutjazz.com/change-of-scenes-kenny-clarke-verve-music-group-review-by-william-grim

Ack Van Rooyen, flugelhorn, trumpet; Stan Saltzman, woodwinds; Sahib Shihab, alto flute, baritone sax, soprano sax, flute; Erik Van Lier, trombone; Jean Warland, electric bass, bass; Stan Sulzmann, soprano sax, tenor sax, flute; Kenny Clare, drums; Kenny Clarke, drums; Tony Inzalaco, percussion; Rick Keefer, trumpet; Rick Kiefer, flugelhorn, trumpet; Benny Bailey, flugelhorn, trumpet; Francy Boland, composer/arranger, keyboards, piano, electric piano; Art Farmer, flugelhorn, trumpet; Herb Geller, English horn, oboe, piccolo, alto sax, flute; Stan Getz, tenor sax; Albert Mangelsdorff, trombone; Tony Coe, tenor sax, clarinet; Ake Persson, trombone; Manfred Schoof, flugelhorn, trumpet; Ronnie Scott, tenor sax

Change Of Scenes

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Stan Getz, Chet Baker - The Stockholm Concerts [Disc 1], [Disc 2], [Disc 3]

Album: The Stockholm Concerts [Disc 1]
Styles: Saxophone And Trumpet Jazz
Year: 1983
File: MP3@320K/s
Time: 55:20
Size: 127,1 MB
Art: Front

( 1:43) 1. Announcement
(10:50) 2. Stablemates
( 7:42) 3. We'll Be Together Again
(10:52) 4. On the Up and Up
( 5:53) 5. How Long Has This Been Going on
( 7:08) 6. O Grande Amor
(11:08) 7. Just Friends

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Album: The Stockholm Concerts [Disc 2]
Time: 58:29
Size: 134,4 MB

( 9:00) 1. My Funny Valentine
( 8:40) 2. Sipping at Bell's
( 5:40) 3. Stella By Starlight
( 7:50) 4. Airegin
( 8:33) 5. The Baggage Room Blues
( 7:33) 6. We'll Be Together Again
(11:10) 7. I'll Remember April

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Album: The Stockholm Concerts [Disc 3]
Time: 58:58
Size: 135,6 MB

(1:25) 1. Annoucement
(8:38) 2. Just Friends
(8:22) 3. My Funny Valentine
(9:02) 4. Sippin' at Bell's
(5:04) 5. Blood Count
(9:55) 6. Milestones
(8:47) 7. Airegin
(5:28) 8. Dear Old Stockholm
(2:12) 9. Line for Lyons

According to this set's annotator, Mike Hennessey, and Stan Getz's biographer, Donald Maggin, the circumstances surrounding the making of these 1983 recordings was unpleasant in the extreme. For various reasons, Getz was unhappy to be concertizing with Baker and forced him out before the 35-date tour was halfway finished. Before Baker left, however, the men played a pair of concerts in Stockholm, which were fortunately recorded for posterity. Fortunately not because Getz and Baker shared any special rapport that led to a classic performance, but because the resulting album gives listeners another example of how wonderful a player Chet Baker was, even after years of drug addiction and general dissolution. Getz is his typical self lyrical, facile almost to the point of glibness, but musical nevertheless. Baker, on the other hand, is as he ever was one of the most spontaneously creative, emotionally compelling voices in jazz. The band is good if unspectacular; drummer Victor Lewis was a particularly nice choice in that he could drive a band like this without overwhelming the rather brittle lead voices. And Getz is excellent; if you're a Getz fan, he's in fine form here, so you won't be disappointed. Baker, on the other hand, is superb; it's his inimitable musicality that ultimately makes this rather pricey three-disc set a bargain.~Chris Kelsey https://www.allmusic.com/album/the-stockholm-concerts-mw0000047181

Personnel: Tenor Saxophone – Stan Getz; Trumpet – Chet Baker; Bass – George Mraz; Drums – Victor Lewis; Piano – Jim McNeely

The Stockholm Concerts [Disc 1],[Disc 2],[Disc 3]

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Stan Getz, Bob Brookmeyer - Recorded Fall '61

Styles: Saxophone And Trombone Jazz
Year: 1961
File: MP3@320K/s
Time: 42:48
Size: 98,8 MB
Art: Front

(10:37)  1. Minuet Circa '61
( 4:46)  2. Who Could Care?
( 5:58)  3. Nice Work If You Can Get It
( 6:46)  4. Thump, Thump, Thump
( 6:59)  5. A Nightingale Sang In Berkeley Square
( 7:39)  6. Love Jumped Out

Stan Getz returned to the United States in 1961 after two years of living in Denmark and playing throughout Europe. That fall, while preparing for Focus, which was to become his favorite personal album, the tenorist went into the studio to recreate some of the quintet magic he and valve trombonist Bob Brookmeyer had produced in the mid-1950s. In fact, the group had recorded earlier in the year with Scott LaFaro on bass, but unhappy with his own playing, Getz refused to release the results. Due to LaFaro’s untimely death that summer, Getz enlisted John Neves to partner with pianist Steve Kuhn and drummer Roy Haynes for this subsequent session, Recorded Fall 1961.

It’s easy to see why Getz must have been pleased with the effort this time. His lines are relatively cliche-free and his fabulous tone, masterful technique and effortless swing are on display throughout. Brookmeyer, one of the most individualistic of improvisers, once again shows himself to be an ideal mate for Getz, combining a composer’s inventiveness with a Kansas City-bred earthiness and sense of swing. The trombonist also composed three tunes-“Minuet Circa ’61,” the ballad “Who Could Care?” and “Thump, Thump, Thump”-to go with his arrangements of a pair of standards and Buck Clayton’s “Love Jumped Out.” Getz liked the rhythm section so much that he continued to use them for his live engagements. Although Recorded Fall 1961 was released soon after its completion, this remastered reissue is part of Verve’s Master Edition series.

Nearly 30 years later, and a year before his death in 1991, Getz was still playing near the top of his form. With his cancer in remission, he was touring Europe with a quartet that included pianist Kenny Barron, bassist Alex Blake and drummer Terri Lyne Carrington. Synthesizer players Eddie Del Barrio and Frank Zottoli augmented the quartet on selections from Getz’s then recently released Apasionado, which featured Del Barrio’s electronically enhanced arrangements. Although some critics accused Del Barrio’s charts of being excessively pop-oriented, they did provide Getz with a congenial setting for his free-flowing lyricism. And at the Munich concert that comprises the first part of The Final Concert Recording, Getz imbues the five selections with his trademark passion and beauty despite a slight tendency to rely too heavily on some of his favorite melodic patterns. The other nine tracks on the two discs that constitute The Final Concert Recording exemplify quintessential small-group Getz. Digging in on the pop standards “What Is This Thing Called Love?” and “On a Slow Boat to China,” as well as the jazz compositions “Seven Steps to Heaven,” “Blood Count” (a Getz favorite), Barron’s “Voyage,” Thad Jones’ “Yours and Mine,” Johnny Mandel’s “El Cajon” and Benny Carter’s “People Time,” the quartet simply sparkles. Blake and Carrington provide a sometimes powerful, sometimes quietly urgent underpinning for Getz and Barron, and both soloists play with the confidence and polish expected of such consummate professionals. Although Barron had worked frequently with Getz, this occasion seems to have been particularly inspirational for him as he’s consistently all over the piano in an especially impressive display of invention. It seems fitting that Getz’s last recording, made a few months later, would feature just the two of them.https://jazztimes.com/archives/stan-getzbob-brookmeyer-recorded-fall-1961/

Personnel: Bob Brookmeyer - valve trombone; Stan Getz - tenor saxophone; Steve Kuhn - piano; John Neves - double bass; Roy Haynes - drums

Recorded Fall '61

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Joao Y Astrud Gilberto With Antonio Carlos Jobim & Stan Getz - Samba E Bossa Nova

Bitrate: MP3@320K/s
Time: 51:47
Size: 118.6 MB
Styles: Bossa Nova, Brazilian jazz
Year: 2006
Art: Front

[6:26] 1. Garota De Ipanema
[5:25] 2. Corcovado
[2:21] 3. O Pato
[3:17] 4. Samba De Uma Nota So
[3:05] 5. Samba De Minha Terra
[4:00] 6. Meditaçao
[4:19] 7. It Might As Well Be Spring
[2:51] 8. Um Abraço No Bonfa
[2:03] 9. Bim Bom
[2:43] 10. A Felicidade Adieu Tristesse
[1:58] 11. The Telephone Song
[4:23] 12. Only Trust Your Heart
[3:22] 13. Eu E Voce
[4:04] 14. Rosa Moreno
[1:24] 15. Doralice

I was on a luckless search looking for a review of this album when a friend called and asked what I was doing. So I told him and asked him if he knew where somebody might have written a relevant review of this album. He said there was only one word I needed to write - WOW!

Samba E Bossa Nova

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Various - Antonio Carlos Jobim & Friends (3 Parts)

Brazilian songwriter and vocalist Antonio Carlos Jobim (1927–1994) was one of the creators of the subtle, whispery, jazz-influenced popular song style known as bossa nova. He has been widely acclaimed as one of Brazil's greatest and most innovative musicians of the twentieth century.

Jobim's place in the annals of popular music was secured by a single hit song, "The Girl from Ipanema" (1964), which he co-wrote with lyricist Vinícius de Moraes. His creative contributions to jazz, however, went much deeper; many of his songs became jazz standards, and, in the words of Richard S. Ginell of the All Music Guide , "Every other set" performed in jazz clubs "seems to contain at least one bossa nova." Jobim was sometimes called the George Gershwin of Brazil, not so much because of any musical or lyric similarity Jobim's songs tended to have oblique, often poetic lyrics quite unlike the clever romantic rhymes of George Gershwin's brother Ira but because his music became the bedrock for the work of jazz musicians for decades after its creation.

Album: Antonio Carlos Jobim & Friends (Part 1)

Bitrate: MP3@320K/s

Time: 58:22

Size: 133.6 MB

Styles: Bossa Nova, Brazilian jazz

Year: 2015

[2:40] 1. Antônio Carlos Jobim - The Girl From Ipanema

[2:28] 2. Sergio Mendes & Brasil '66 - Agua De Beber

[5:15] 3. Dizzy Gillespie - One Note Samba

[3:36] 4. João Gilberto - Só Danço Samba

[4:17] 5. Antônio Carlos Jobim - Corcovado

[2:48] 6. Astrud Gilberto - How Insensitive

[4:13] 7. Stan Getz - Chega De Saudade (No More Blues)

[3:31] 8. Elis Regina - Águas De Março

[2:15] 9. Sergio Mendes & Brasil '66 - Wave

[2:27] 10. Caetano Veloso - Meditação

[4:55] 11. Gal Costa - A Felicidade

[4:26] 12. Antônio Carlos Jobim - Captain Bacardi

[2:40] 13. Astrud Gilberto - Dindi

[4:41] 14. Stan Getz - O Grande Amor

[3:09] 15. Elis Regina - Inútil Paisagem

[2:40] 16. Walter Wanderley - Song Of The Jet

[2:13] 17. Ella Fitzgerald - Desafinado

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Album: Antonio Carlos Jobim & Friends (Part 2)

Bitrate: MP3@320K/s

Time: 66:35

Size: 152.4 MB

Styles: Bossa Nova, Brazilian jazz

Year: 2015

[4:44] 1. Wes Montgomery - O Morro Nao Tem Vez

[2:10] 2. Astrud Gilberto - Amor Em Paz

[3:50] 3. Antônio Carlos Jobim - Brasil Nativo

[5:03] 4. Antônio Carlos Jobim - Para Machuchar Meu Coracao

[6:21] 5. Herbie Hancock - Ela E Carioca

[3:09] 6. Elis Regina - Retrato Em Branco E Preto

[5:48] 7. Ella Fitzgerald - Jazz Samba

[2:45] 8. Astrud Gilberto - Felicidade

[2:51] 9. João Gilberto - Vivo Sohando

[5:27] 10. Joe Henderson - Dreamer

[2:06] 11. Sergio Mendes & Brasil '66 - Triste

[2:32] 12. Astrud Gilberto - Eu E Voco

[2:39] 13. Elis Regina - Bonita

[5:18] 14. Joe Henderson - Portrait In Black And White

[4:34] 15. João Gilberto - Este Seu Olhar

[1:44] 16. Elis Regina - O Que Tinha De Ser

[5:26] 17. Antônio Carlos Jobim - Ana Luiza

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Album: Antonio Carlos Jobim & Friends (Part 3)

Bitrate: MP3@320K/s

Time: 64:12

Size: 147.0 MB

Styles: Bossa Nova, Brazilian jazz

Year: 2015

Art: Front

[6:36] 1. Joe Henderson - Boto

[3:29] 2. Antônio Carlos Jobim - Luiza

[3:59] 3. Antônio Carlos Jobim - Remember

[5:03] 4. Gal Costa - Se Todos Fossem Iguais A Voce

[3:18] 5. Antônio Carlos Jobim - Chansong

[8:46] 6. Lee Ritenour - Stone Flower

[2:19] 7. Antônio Carlos Jobim - Mojave

[6:39] 8. Stan Getz - Once Again (Outra Vez)

[3:09] 9. Elis Regina - Chovendo Na Roseira

[2:07] 10. Nelson Riddle - Por Toda Minha Vida

[2:27] 11. Astrud Gilberto - She's A Carioca

[2:17] 12. Astrud Gilberto - Water To Drink

[3:44] 13. Antônio Carlos Jobim - Looks Like December

[3:16] 14. Antônio Carlos Jobim - Nuvens Douradas (Golden Clouds)

[3:11] 15. Joe Henderson - Happy Madness

[3:44] 16. Antônio Carlos Jobim - Anos Dourados

Antonio Carlos Jobim & Friends (Part 1)(Part 2)(Part 3) 

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Chet Baker, Stan Getz - West Coast Live Disc 1, Disc 2

Album: West Coast Live Disc 1 - Live At The Haig,Los Angeles,CA.,1953

Bob Brookmeyer - Bob Brookmeyer & Friends

Styles: Trombone Jazz
Year: 1964
File: MP3@320K/
s Time: 55:12
Size: 127,7 MB
Art: Front

(4:40) 1. Jive Hoot
(5:17) 2. Misty
(5:18) 3. The Wrinkle
(4:57) 4. Bracket
(5:00) 5. Skylark
(4:04) 6. Sometime Ago
(5:04) 7. I've Grown Accustomed To Her Face
(7:02) 8. Who Cares
(5:18) 9. Day Dream
(3:37) 10. Time For Two
(4:50) 11. Pretty Girl

This somewhat obscure session was reissued on LP by Columbia in 1980. Valve trombonist Bob Brookmeyer and tenor-great Stan Getz (who had played together regularly a decade prior) had a reunion for this date, performing five standards and three Brookmeyer originals. The young rhythm section (pianist Herbie Hancock, vibraphonist Gary Burton, bassist Ron Carter, and drummer Elvin Jones) uplifts what would have been a fairly conventional (although high quality) bop date. https://www.allmusic.com/album/bob-brookmeyer-and-friends-mw0000030917

Personnel: Valve trombone - Bob Brookmeyer; Tenor saxophone - Stan Getz; Vibraphone - Gary Burton; Piano - Herbie Hancock; Bass - Ron Carter , Drums - Elvin Jones; Vocals - Tony Bennett (track 9).

Bob Brookmeyer & Friends

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Stan Getz - Work From Home with Stan Getz

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 172:17
Size: 397,8 MB
Art: Front

(2:46)  1. Doralice - Stereo Version
(3:21)  2. Insensatez
(3:59)  3. Serenade In Blue
(4:39)  4. But Beautiful
(4:44)  5. Early Autumn
(4:11)  6. Desafinado
(6:50)  7. Louise
(3:36)  8. Só Danço Samba
(2:20)  9. Corcovado (Quiet Nights Of Quiet Stars) - Single Version
(4:43) 10. O Grande Amor
(5:16) 11. Pennies From Heaven
(5:46) 12. Ballad
(5:21) 13. Winter Moon
(3:08) 14. Samba Da Minha Terra - Live At Carnegie Hall/1964
(2:29) 15. O Pato
(4:39) 16. I'm Glad There Is You
(4:07) 17. I Was Doing All Right
(3:04) 18. Where Flamingos Fly
(1:47) 19. Carpetbagger's Theme
(3:17) 20. Body And Soul
(6:27) 21. When The Sun Comes Out - Live At The Village Gate, 1961
(5:25) 22. Lover Man
(4:46) 23. Once Upon A Time
(5:07) 24. Here's That Rainy Day
(6:41) 25. It Don't Mean A Thing - 2011 version
(5:26) 26. Madrugada
(3:25) 27. Stars Fell On Alabama
(5:22) 28. Over The Rainbow
(2:59) 29. You Turned The Tables On Me
(3:52) 30. It Never Entered My Mind - Live At The Shrine Auditorium, Los Angeles, 1957 / Mono Version
(3:29) 31. Love Is Here To Stay - Alternate Take
(3:58) 32. You're Blase
(7:53) 33. Blues For Mary Jane
(2:52) 34. How Deep Is The Ocean
(3:26) 35. I Didn't Know What Time It Was
(5:50) 36. Manha De Carnaval
(5:52) 37. Symptones
(3:39) 38. Goodbye
(5:25) 39. O Grande Amor

Stan Getz (born Stanley Gayetski; February 2, 1927 – June 6, 1991) was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young. Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow as "one of the all-time great tenor saxophonists". Getz performed in bebop and cool jazz groups. Influenced by João Gilberto and Antônio Carlos Jobim, he popularized bossa nova in America with the hit single "The Girl from Ipanema" (1964). Getz was born Stanley Gayetski on February 2, 1927, at St. Vincent's Hospital in Philadelphia, Pennsylvania, United States.[2] Getz's father Al was born in Mile End, London, in 1904, while his mother Goldie (née Yampolsky) was born in Philadelphia in 1907. His paternal grandparents Harris and Beckie Gayetski were originally from the Kiev area of the Russian Empire (now Ukraine) but had migrated to escape the pogroms in the Russian Empire to Whitechapel, in the East End of London. There, they owned the Harris Tailor Shop at 52 Oxford Street for more than 13 years. In 1913, Harris and Beckie emigrated to the United States with their three sons Al, Phil, and Ben, following their son Louis Gayetski who had emigrated to the US the year before.

The Getz family first settled in Philadelphia, but during the Depression the family moved to New York City, seeking better employment opportunities. Getz worked hard in school, receiving straight As, and finished sixth grade close to the top of his class. Getz's major interest was in musical instruments and he played a number of them before his father bought him his first saxophone at the age of 13. Even though his father also got him a clarinet, Getz instantly fell in love with the saxophone and began practicing eight hours a day. He attended James Monroe High School in the Bronx. In 1941, he was accepted into the All City High School Orchestra of New York City. This gave him a chance to receive private, free tutoring from the New York Philharmonic's Simon Kovar, a bassoon player. He also continued playing the saxophone. He eventually dropped out of school in order to pursue his musical career, but was later sent back to the classroom by the school system's truancy officers. In 1943, at the age of 16, he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947 to 1949 in "The Second Herd", and he first gained wide attention as one of the band's saxophonists, who were known collectively as "The Four Brothers"; the others being Serge Chaloff, Zoot Sims and Herbie Steward. With Herman, he had a hit with "Early Autumn" and after Getz left "The Second Herd" he was able to launch his solo career. He was the leader on almost all of his recording sessions after 1950....More... https://en.wikipedia.org/wiki/Stan_Getz

Work From Home with Stan Getz

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Stan Getz Quartet - In Poland 1960

Size: 160,0 MB
Time: 68:53
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz
Art: Front & Back

01. But Not For Me ( 6:13)
02. Cherokee ( 5:21)
03. Darn That Dream ( 5:49)
04. Out Of Nowhere ( 7:04)
05. The Folks Who Live On The Hill ( 4:40)
06. Waltz For Lovely Wife (Bonus Track) ( 6:10)
07. Grandfather's Waltz (Bonus Track) ( 7:31)
08. Sweet Georgia Brown (Bonus Track) ( 6:31)
09. 'Round Midnight (Bonus Track) ( 9:00)
10. A Night In Tunisia (Bonus Track) (10:30)

Personnel:
Stan Getz: Tenor Sax
Andrzej Trzaskowski: Piano
Roman Dylag: Bass
Andrzej Dabrowski: Drums

A long unavailable 1960 performance by Stan Getz, recorded in studio conditions in Warsaw, plus five rare bonus tracks by Getz recorded live in Thailand, Japan and Sweden. The latter includes well-known pianist Bobo Stenson featured here at the beginning of his career.

All tracks carefully remastered.

Recorded at National Philharmonics Concert Hall, Warsaw, Poland, on October 31, 1960.

In Poland 1960

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Stan Getz Quartet - Getz At The Gate

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 139:14
Size: 321,0 MB
Art: Front

( 0:25)  1. Announcement By Chip Monck
( 7:49)  2. It's All Right With Me
( 9:20)  3. Wildwood
( 6:27)  4. When The Sun Comes Out
(12:01)  5. Impressions
( 8:35)  6. Airegin
( 9:45)  7. Like Someone In Love
( 8:29)  8. Woody 'N' You
(10:27)  9. Blues
( 5:01) 10. Where Do You Go
( 8:19) 11. Yesterday's Gardenias
( 7:25) 12. Stella By Starlight
( 8:52) 13. It's You Or No One
( 6:57) 14. Spring Can Really HangYou Up The Most
(14:18) 15. 52nd Street Theme
(14:57) 16. Jumpin' With Symphony Sid

Connoisseurs of Stan Getz continue to get lucky with newly discovered live recordings. The last was Moments In Time (Resonance, 2016), a single CD documenting parts of a week-long residency with a quartet including pianist JoAnne Brackeen in San Francisco in 1976. Getz At The Gate, recorded fifteen years earlier, is another substantial addition to Getz's catalogue. Over two CDs, or three LPs if you prefer, it includes all 139 minutes which Getz's band performed at New York's Village Gate on November 26, 1961. Recorded just a month after the completion of Getz's with-strings masterpiece Focus (Verve, 1961), the package captures him at the top of his game. After two and a half years living in Denmark, Getz returned to the US in early 1961 to encounter a jazz world in the throes of change. Ornette Coleman was carrying the torch for free jazz, Miles Davis had brought modal jazz into the mainstream and John Coltrane had put clear water between himself and Sonny Rollins to become the pre-eminent tenor saxophonist on the New York scene. Getz, who had lost none of his competitive edge while in Europe, realised he could not simply pick up where he had left off if he wanted to keep his place at the head table. He was not about to become either a modal or a free player, but he was prepared to recalibrate a little. He put together a new-guard quartet comprising pianist Steve Kuhn, who had briefly been a member of Coltrane's quartet in 1960, bassist Scott LaFaro, who had just left Coleman's band, and drummer Roy Haynes, with whom Getz had first worked in the late 1940s and who was fresh from recording with Eric Dolphy. Getz took the group into the Village Vanguard in March 1961 for his New York comeback. A review in The New York Times reported that Getz was "a much more venturesome musician" than when he last played in the city. The quartet played an acclaimed set at the Newport Jazz Festival in July. Things were looking good. Tragically, four days later, La Faro was killed in an auto accident.

La Faro was replaced by John Neves and the new lineup augmented by valve trombonist Bob Brookmeyer went into the studio in September to make Recorded Fall 1961 (Verve), a relatively little-known treasure in Getz's discography. Two months later, Getz took the quartet (without Brookmeyer) into the Village Gate for the gig preserved on Getz At The Gate. Despite their quality, Recorded Fall 1961, Focus and Getz At The Gate were all overtaken by events. In early 1962, the tapes of Getz's bossa nova debut, Jazz Samba (Verve, 1962), hit Verve's office. They had hit written all over them. Getz's other projects were put on hold. Recorded Fall 1961 and Focus dropped off the promo schedule and Getz At The Gate lay forgotten in the vaults. Only now, in June 2019, is the album getting its first release. The Getz At The Gate set lists are mostly drawn from the Great American Songbook with which Getz had made his name, plus four jazz standards (Gigi Gryce's "Wildwood," Dizzy Gillespie's "Woody "n You," Thelonious Monk's "52nd Street Theme" and Sonny Rollins' "Airegin"). Getz's readings range from the lush and intimate through the fierce and stomping and, as ever, he pulls improvised melodies out of the air which are as beautiful as the tunes they are grounded in. A gorgeous reading of Harold Arlen's "When The Sun Comes Out" is among the highlights. The odd-man-out among the track titles is "Impressions," the tune John Coltrane had remodelled out of Miles Davis' "So What" (from Davis' 1959 CBS album Kind Of Blue). It would be fascinating to hear Getz play Coltrane's piece but, disappointingly, he sits out the number, which is a trio feature for Kuhn, who had performed it while a member of Coltrane's band. On the rarities front, however, Getz At The Gate does include the only known Getz recordings of "52nd Street Theme," Cole Porter's "It's Alright With Me" and Dick Robertson's "Yesterday's Gardenias." Getz At The Gate has borderline longueurs, in the shape of a couple too many bass solos. But such was the small-group gigging paradigm of the time. Getz is in exalted form throughout and you can't get too much of that. ~ Chris May https://www.allaboutjazz.com/getz-at-the-gate-stan-getz-verve-review-by-chris-may.php

Personnel: Stan Getz: tenor saxophone; Steve Kuhn: piano; John Neves: bass; Roy Haynes: drums.

Getz At The Gate

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Stan Getz - Live in Paris 1959

Styles: Saxophone Jazz
Year: 1959/2018
File: MP3@320K/s
Time: 78:22
Size: 179,9 MB
Art: Front

( 9:00)  1. Cherokee
( 6:11)  2. All the Things You Are
( 4:08)  3. Lover Man
( 3:36)  4. Special Club
( 6:17)  5. Round 'Bout Midnight
(10:04)  6. Softly as in a Morning Sunrise
( 5:08)  7. Tenderly
( 5:01)  8. The Squirrel
( 7:20)  9. Yardbird Suite
( 7:08) 10. Too Marvellous for Words
( 7:03) 11. Topsy
( 7:21) 12. Over the Rainbow

A fantastic live performance from Stan Getz recorded in Paris at the end of the 50s, and with maybe a bit more of an edge than some of his other European concerts! One of the key factors here is the budding modernist Martial Solal on piano who makes a nicely surprising partner for Stan  in a group that also features Jimmy Gourley on guitar, Pierre Michelot on bass, and Kenny Clarke on drums certainly something of a French pick-up group, but one that's top shelf all the way through! Stan's got a wonderful sharpness to his tone with that growing sense of fullness that would mature in the 60s, but still also this link that maybe goes a bit back towards Lester Young too  spun out on long takes of familiar tunes, very well-recorded as on other selections in this series. Titles include "The Squirrel", "Yardbird Suite", "All The Things You Are", "Topsy", "Tenderly", "Softly As In A Morning Sunrise", "Round Midnight", and "Special Club".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/889508/Stan-Getz:Stan-Getz-Live-In-Paris-1959

Personnel:  Tenor Saxophone - Stan Getz; Bass – Pierre Michelot; Drums – Kenny Clarke; Guitar – Jimmy Gourley ; Piano – Martial Solal

Live in Paris 1959

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Diane Schuur - Diane Schuur Collection

Styles: Vocal Jazz
Year: 1989
File: MP3@320K/s
Time: 50:12
Size: 115,1 MB
Art: Front

(5:35)  1. Love Dance
(2:57)  2. Easy To Love
(3:54)  3. By Design
(4:46)  4. The Very Thought Of You
(3:16)  5. Caught A Touch Of Your Love
(4:23)  6. How Long Has This Been Going On?
(4:53)  7. Louisana Sunday Afternoon
(4:56)  8. Come Rain Or Come Shine
(3:17)  9. Sure Thing
(3:54) 10. Teach Me Tonight
(3:53) 11. Funny (But I Still Love You)
(4:21) 12. I'll Close My Eyes

Released in 1989, Collection sums up Diane Schuur's first five GRP albums, a period when she achieved a level of acclaim that tailed off somewhat in the '90s. What has been gathered together here is often very impressive, her rich, full voice keening over carefully wrought, beautifully recorded lush backdrops (with real or electronic strings), swinging over some fine big bands, or coming to terms with '80s jazz funksters. Strangely, there is only one selection from her live-in-the-studio collaboration Diane Schuur & the Count Basie Orchestra, which is the best overall album from this period (it features guitarist Freddie Green's last recorded performance) while the other albums (Deedles, Schuur Thing, Timeless, Talkin' 'Bout You) get multiple representation. It's quite possible that Schuur has never topped the leadoff track, Ivan Lins' beguiling "Love Dance" with her sponsor Stan Getz weaving a magic spell, this is a great example of the right material meeting the right singer and the right backing. Dave Grusin, Johnny Mandel, Billy May, Pat Williams, and Jeremy Lubbock are the arrangers whose tracks were chosen and everything has the brilliant sonic sheen that turned on the audiophile crowd early in the CD era. ~ Richard S.Ginell https://www.allmusic.com/album/collection-mw0000200577

Personnel: Diane Schuur (vocals); Jose Feliciano (vocals); Howard Roberts , Steve Khan (electric guitar); Tom Scott (alto saxophone); Stan Getz (tenor saxophone); Dave Grusin (piano, Fender Rhodes piano, keyboards, synthesizer, percussion); Mitchel Forman (piano, synthesizer); Richard Tee (Fender Rhodes piano); Larry Williams (synthesizer); Dan Dean (electric bass); Carlos Vega (drums, percussion); Moyes Lucas, Steve Gadd (drums).

Diane Schuur Collection

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Woody Herman - Keeper Of The Flame

Styles: Clarinet, Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 58:21
Size: 137,2 MB
Art: Front

(3:04)  1. That's Right
(2:52)  2. Lemon Drop
(3:14)  3. I Got It Bad (And That Ain't Good)
(3:07)  4. I Ain't Gettin' Any Younger
(3:12)  5. Early Autumn
(3:05)  6. More Than You Know
(3:03)  7. Keeper Of The Flame
(3:14)  8. The Crickets
(3:13)  9. More Moon
(3:11) 10. Detour Ahead
(3:12) 11. Jamaica Rhumba
(2:53) 12. Not Really The Blues
(2:57) 13. Tenderly
(2:42) 14. Lollipop
(2:37) 15. I'll Be Glad When You're Dead You Rascal You
(3:13) 16. You've Got A Date with The Blues
(3:10) 17. Rhapsody In wood
(2:57) 18. The Great Lie
(3:14) 19. In The Beginning

Subtitled The Complete Capitol Recordings of the Four Brothers Band, this CD contains 19 selections from Herman's Second Herd, including three songs never before released. Top-heavy with major soloists (including trumpeters Red Rodney and Shorty Rogers; trombonist Bill Harris; tenors Al Cohn, Zoot Sims, Stan Getz, and Gene Ammons; and vibraphonist Terry Gibbs; not to mention Herman himself), this boppish band may have cost the leader a small fortune but they created timeless music. Highlights include "Early Autumn" (a ballad performance that made Stan Getz a star), the riotous "Lemon Drop," and Gene Ammons' strong solo on "More Moon." 

~ Scott Yanow https://www.allmusic.com/album/keeper-of-the-flame-the-complete-capitol-recordings-mw0000075785

Personnel:  Clarinet – Woody Herman;  Alto Saxophone – Sam Marowitz, Woody Herman;  Baritone Saxophone – Serge Chaloff;  Bass – Chubby Jackson (tracks: 1 to 7), Joe Mondragon (tracks: 13 to 19), Oscar Pettiford (tracks: 8 to 12);  Drums – Don Lamond (tracks: 1 to 7), Shelly Manne (tracks: 8 to 19);  Piano – Lou Levy;  Tenor Saxophone – Al Cohn (tracks: 1 to 7), Buddy Savitt (tracks: 8 to 19), Gene Ammons (tracks: 8 to 19), Jimmy Giuffre (tracks: 8 to 19), Stan Getz (tracks: 1 to 7), Zoot Sims (tracks: 1 to 7);  Trombone – Bart Varsalona (tracks: 8 to 19), Bill Harris, Bob Swift (tracks: 1 to 7), Earl Swope, Ollie Wilson ; Trumpet – Al Porcino (tracks: 8 to 19), Bernie Glow (tracks: 1 to 7), Charlie Walp (tracks: 8 to 19), Ernie Royal, Red Rodney (tracks: 1 to 7), Shorty Rogers, Stan Fishelson;  Vibraphone – Terry Gibbs (tracks: 1 to 7, 10 to 19);  Vocals – Mary Ann McCall (tracks: 1 to 9), Woody Herman

Keeper Of The Flame

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Stan Getz - The Song Is You

Styles: Saxophone Jazz
Year: 1969
File: MP3@320K/s
Time: 60:33
Size: 139,7 MB
Art: Front

( 5:52)  1. The Song Is You
( 6:05)  2. O Grande Amor
( 3:24)  3. For Jane
( 7:51)  4. Dane's Chant
( 6:21)  5. Major General
( 5:12)  6. Folk Tune For Bass
(13:09)  7. Tonight I Shall Sleep - Desafinado
( 6:54)  8. All The Things You Are
( 3:44)  9. Summer Night
( 1:58) 10. One Note Samba

If any album by Stan Getz could be termed a sleeper, this one would be it. Released by producer Sonny Lester on his LRC label, and relatively unheralded due to distribution factors or sketchy information, this apparently is a summertime 1969 concert festival performance done somewhere in Italy. A scant few years away from teaming up with Chick Corea for the 1972 Captain Marvel date, this version of the Getz quartet is a dynamic coalition, including pianist Stanley Cowell, bassist Miroslav Vitous, and drummer Jack DeJohnette, all young and extraordinarily individualistic modern jazzmen. Getz sounds as good as he ever did, retaining some of the bossa nova tunes that boosted his rise to super stardom while allowing room for his bandmembers to bring in their own compositions and provide them a solo spotlight. Cowell is especially bold and euphoric, whether by design or his personal will power, displaying immense taste and inventiveness that also served him well during his time as a leader on his pivotal 1969 Black Lion/Arista-Freedom date Traveling Man aka Blues for the Viet Cong. From the opening strains of the title track "The Song Is You," it's clear something special is happening, as an extrapolated intro fueled by Cowell's piano expands the theme before it is settled and stated by Getz. Never straying far from his stylized bossa nova, Getz does four songs of Antonio Carlos Jobim's, anchored by the thick and sinewy basslines of Vitous during "O Grade Amor" and "Summer Night," mixing and matching contrasting implied beats courtesy of DeJohnette, 27-years-old at this time but already defining his signature sound. The drummer also composed the short, sweet, and spontaneous ballad "For Jane," and the multi-directional "Major General," morphing from the pedal point bass of Vitous to swing and bop as tight as can be, the rhythm section charged with kinetic energy. Cowell wrote "Dane's Chant," in a loose-tight churning whirl of 6/8 time inserted in 4/4 similar to a Dizzy Gillespie theme. As this is a Getz led date, you get the expected smooth and rounded tenor which he had developed in the '60s. His quietude is rendered in freer moods for the jazz/bossa medley "Tonight I Shall Sleep/Desafinado," while completely and purposefully restrained on "All the Things You Are." Vitous, at age 22, plays an unaccompanied solo, at times obtuse or harmonically sour, but lithe, quick, and diverse during "Folk Tune for Bass," advanced far beyond his years. The two-minute finale "One Note Samba" features an unattributed vocalist singing in mixed English and Portuguese, sounding similar to Flora Purim, but perhaps an Italian friend of Getz. The Song Is You is a missing link between a less than successful teaming with Bill Evans, and the more modern quartet music Getz played thereafter with Corea, Jimmy Rowles, Joanne Brackeen, or Kenny Barron. It's a very worthwhile item to own if you search for it, well recorded and performed by a group that could collectively be the most purely talented of any you might find who ever backed up Stan Getz. ~ Michael G.Nastos https://www.allmusic.com/album/the-song-is-you-mw0000101272

Personnel:  Stan Getz - tenor saxophone;  Stanley Cowell - piano;  Miroslav Vitous - bass;  Jack DeJohnette - drums

The Song Is You

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