Stan Getz Music

I've probably listened to this album more times than any other over the years. It was my introduction to the wonderful "Waters of March," which has since become more popular. I love the fact that the album contains lesser known but great Jobim tunes. Also, I'm a saxophonist, and the more I listen to Stan Getz's solos, the more I realize that they're perfectly constructed gems of melodic development - no running the chord changes here. His building of a solo is really an education: so personal, lyrical yet tough, his pace, use of dynamics, dramatic rises and falls. This is my favorite Brazilian/jazz album. Get it, you'll love it. By the way, this CD production could be improved - no personnel are listed, for one, unlike the original LP.

I knew a lady whom Joao stayed with her family (she was 13 at the time)during the recording of this record. She said that Joao was furious when he heard the mix. There is Joao, understated and superbly craftsmanly and self-contained, then the sax solos kick in at a level that seems twice as loud as Joao's performance, as if he were a blank pad for scribbling saxophone- a disgusting display of egotism and lack of respect. I give this 3 stars because I worship Joao, but through no fault of his own, this is his worst record.

This also has been a favorite of mine for thirty years. There are flaws but also many gems. Getz may have been in a bad way but his solos flow perfectly with the music. Gilberto is a joy as always.

I don't think the playing is as poor as others have claimed, but the production quality is just miserable. I can't believe that Columbia can't re-master this and at least take out the most obvious flaws in volume, "muddy-ness," etc. I'd be happy to buy it again if it sounded better!

After "Getz/Gilberto" the second best selling Jazz album of all time behind "Kind of Blue", the record companies were anxious for another golden egg.

However this is one of the worst periods in Stan Getz life, the 70's. Personal problems, and he was locked in the the bitterest divorce case in history, went to the Supreme Court! Things added to his orange juice...

Joao Gilberto also has a good reason to have a grudge against Getz but it doesn't show here, he is as mellow as usual. A trooper. His singing and guitar & Heloise hold the day, while Getz pretty much phones it in. What's good on this album comes from him.

For better Getz, pick any other decade or his life. For some reason all of the Getz Columia recordings are really bass thin and harsh. This one is less so, but no exception.

See my list for many better Getz recordings.

There is nothing like a live jazz concert to bring out the creative talents of the musicians, especially when led by the preeminent tenor saxaphonist, Stan Getz. The range of tunes from standards to originals -bossas, ballads and bop, are excellent choices to display the talents of the group.

(Amazon personnel: can you advise me your e-mail address so that I can communicate with you as I have a problem with one of the vendors re an order placed in January? Thanks , schafe@bbtel.com)

Let me say it simply: This CD is one of Getz's finest recordings, out of hundreds. It matches his wistful, moody lyricism with one of the most astoundingly inventive rhythm sections of all time: Stanley Cowell on piano, Miroslav Vitous on bass, and Jack DeJohnette on piano. If you like Getz's "Sweet Rain" with Chick Corea -- which is my personal fave -- you've got to get this. It's lean, adventurous, very subtle music. And at that price, I'd buy it for all the Getz fans you know. I did!

This cd from the italian label Get Back is a nice addiction to a complete Stan Getz discography. The cd is not in the jewel box, is packaged in a "paper box". The cover is very well known, I think this album was published in the vynil form in the past, but I'm not sure. It is composed by two concerts. The first is a classic soloist plus piano combo date recorded in USA in 1961, featuring Steve Kuhn (piano), Scott LaFaro (!! bass), Roy Haynes (drums). The second concert (from "Dolphin street" on ...) was recorded in 1966 in Berlin and it is the most interesting among the two sessions presented here. Here you'll find a different combo with Gary Burton on vibraphone, Chuck Israel on bass and still the marvellous Roy Haynes on drums. If you'll like this kind of combo you can find this same line up in another album from Getz, "Nobody else but me" (generally speaking "Nobody" is a better cd than this one, the concert is longer and better recorded ... the repertoire even more interesting, so I highly suggest that record too) which is another concert from this same period released by Verve some years ago. The music is very good as it always happens with Getz of course. He soars and interplays perfectly with the two groups that supported him. Personally I prefer the date with Burton because combos with vibrophone instead of the piano are very rare but the sound they could generate is extremely pleasing to my ear, especially with Getz as the main voice. Infact Getz with his dreamy sound, his lovely romantic lines, his perfect sense of forms in my opinion finds himself in another, "new" ideal setting with the vibrophone. If you consider that this album together with "Nobody else but me" (out of print actually) is the only one where you can find Getz in this kind of situation you should agree that "not buying" could not be an option. The overall recording quality is not absolutly perfect (disappointing in some moments), but we can pass over this thing here, considering the importance, the rarity and the quality of the music.

This cd from the italian label Get Back is a nice addiction to a complete Stan Getz discography. The cd is not in the jewel box, is packaged in a "paper box". The cover is very well known, I think this album was published in the vynil form in the past, but I'm not sure. It is composed by two concerts. The first is a classic soloist plus piano combo date recorded in USA in 1961, featuring Steve Kuhn (piano), Scott LaFaro (!! bass), Roy Haynes (drums). The second concert (from "Dolphin street" on ...) was recorded in 1966 in Berlin and it is the most interesting among the two sessions presented here. Here you'll find a different combo with Gary Burton on vibraphone, Chuck Israel on bass and still the marvellous Roy Haynes on drums. If you'll like this kind of combo you can find this same line up in another album from Getz, "Nobody else but me" (generally speaking "Nobody" is a better cd than this one, the concert is longer and better recorded ... the repertoire even more interesting, so I highly suggest that record too) which is another concert from this same period released by Verve some years ago. The music is very good as it always happens with Getz of course. He soars and interplays perfectly with the two groups that supported him. Personally I prefer the date with Burton because combos with vibrophone instead of the piano are very rare but the sound they could generate is extremely pleasing to my ear, especially with Getz as the main voice. Infact Getz with his dreamy sound, his lovely romantic lines, his perfect sense of forms in my opinion finds himself in another, "new" ideal setting with the vibrophone. If you consider that this album together with "Nobody else but me" (out of print actually) is the only one where you can find Getz in this kind of situation you should agree that "not buying" could not be an option. The overall recording quality is not absolutly perfect (disappointing in some moments), but we can pass over this thing here, considering the importance, the rarity and the quality of the music.