Stan Getz Music

Stan Getz started playing sax professionally, leaving high school to join Jack Teagarden's band, at 16. In fact, New York truant officers where chasing him around until Teagarden became his guardian to keep them both out of legal trouble! (None of those songs here, I guess he didn't solo). He then played with Benny Goodman and Woody Herman.

Stan went from big bands to soloing with his own combos at an age when most kids were going to high school and college!

Getz very early playing is spread out through four or five other CD's (Woody Herman "Keeper of the Flame", "Brothers" etc). If you want the best of the lot this is the greatest hit's from Stan at age eighteen to twentytwo from 1945-49.

The outstanding cut is Getz solo on "Early Autumn" with Woody Herman's Second Herd, the song that catapulted Getz to public attention at a still very young age.

The rest is mostly energetic bebop,or Cool. The recording quality is probably as good as can be expected for the period, runs the gamet from murky and muddy to OK. Mono.

Three stars for performance, 2 for sound quality.

Having a commercial CD with this music means I don't have go through the process of creating a CD from the LP. The sound is smooth, and almost syrupy sweet, but I like the selection of tunes and the arrangements.

Having a commercial CD with this music means I don't have go through the process of creating a CD from the LP. The sound is smooth, and almost syrupy sweet, but I like the selection of tunes and the arrangements.

I am a jazz player and I think this is a very good combination of Stan Getz' excellent tone and musicianship with an orchestra in the background. It brings out both of their great qualties of Jazz styles.

Arranger/conductor Russ Garcia is a bit over the top in some of the arrangements, specifically in his use of the harp, but Stan really in-scends, sliding into the groove on some of the heavy treatment - particularly on Benny Golson's "Whisper Not", and "Round Midnight"; unlike Bird, who transcends; choosing instead to play above and beyond his given venue. "Early Autumn" is really luscious, and the best cut on this half of the venture. If you want the very best recording of this beautiful tune, check out Stan's version on "The Best Of The West Coast Sessions" - it is heavenly. "It Never Entered My Mind" deserves mention here as well for sheer romantic treatment. The "Voices" half of the session finds Stan in a more relaxed mode; however, after hearing Brazilian treatment of vocal arrangements, as done in Jobim's later work with "Bando Novo", I find the 'choir' to be more of a distraction than a partnership, although the feel of the tunes are more to my liking, as is Stan's samba playing. It's not the concept of the vocal accompanyment that I don't like, it is the execution. Since these are two seperate sessions, seperated by 6 years, I would have to give "Cool Velvet" 4 stars, and "Voices. 3 stars.

The Chinese conceive of not four, but five seasons, the extra one is Early Autumn. When the temps drop in August, I think of this song.

Stan Getz first came to popular attention playing the solo "Early Autumn" in the Woody Herman band when he was, I believe, only 21. He was in the legendary identical saxophone section called the "Four Brothers". He got the sensuous solo, and it made him a household name. This is a ravishingly beautiful song. Unfortunatly, The Woody Herman original version, from '49 is less well recorded. This CD contains the best recorded version of "Early Autumn" in a more detailed and complex arrangement than Woody Herman's.

All songs feature lush ripe orchestral arrangements and are well-recorded. Stan sticks very close to the melodic line, with little invention. This set of unchallenging albums will appeal to the Jazz novice, as Stan's sax is treated more as a vocalist with an orchestral background than his more typical complex bebop and ballads with a quartet.

The focus is on "The Sound" and the feeling, less than the technique! Playing is pleasant, Pop, romantic, occationally syrupy and not as imaginative as on his personal favorite album, the orchestral "Focus". But Stan tried a number of times to duplicate the success of that orchestral album many times with indifferent results. This album stays with easier arrangements, and succeeds where others fail.

Other standouts include "Round Midnight", "Born to be Blue", "The Thrill is Gone", "Goodbye".

The first part, with "Cool Velvet",(strings), is well worth having, the second, "Voices", is a pretty forgetable Swingle Singers type attempt. A 2 for 1.

The playing by Getz is top notch; the same can be said for the other musicians as well as the voices on VOICES. Also, the arrangments are superb and I like the strings and harp on the 1st album and the voices on the 2nd. This is definetely cool jazz but played with plenty of hot passion underneath all the coolness. This is not casual lounge music.

Here is my only gripe: The second album could have used more standards. I DIDN'T KNOW WHAT TIME IT WAS is the best cut from that side but the bossa nova tunes pale a bit in comparision to his work with Gilberto and Jobim.

On the 1st album, there is a better balance between standards and lesser known tunes. GOODBYE written by Gordon Jenkins stands out as the best in my opinion.

If you're new to Stan Getz, then you should get STAN GETZ's finest hour to provide you a superb overview of his work. And of course, GETZ/GILBERTO is the defintive bossa nova album!!

But for the more serious Getz fans, this 2 for 1 package is a bargain and a pleasant collection which highlights his second to none playing.

The sound quality and mix is superb as I have found with all VERVE albums I own. Keep in mind, these albums were recorded in 1960 and 1966 respectively; long before DOLBY and digital sound. But then, I prefer the good old analog rich and warm sound.

In another generous release from Verve Records, Stan Getz fans are treated to two of the legendary saxophonist's best albums on one digitally remastered CD: "Cool Velvet," an album with strings, and "Voices," an excitingly experimental project featuring backup singers.

Getz's grace and beauty of tone have rarely been as evident as they are on the "Cool Velvet" tracks; ballads like "The Thrill is Gone," "It Never Entered My Mind," and "Born to Be Blue" will leave no doubt in any listener's mind as to the level of his artistry. "Early Autumn" and "Round Midnight" get stunning renditions, and "Whisper Not" picks up the pace ever so slightly, and the combination of Getz, vibraphone, and strings over the tune's catchy melody make for one of the most memorable moments in Stan's career.

"Voices" is another chance for Getz fans to indulge in his love of Bossa Nova; with the exception of a gorgeous, drowsily-swinging "I Didn't Know What Time it Was," every track gets a sensuous, Brazilian-influenced arrangement. What sets the project apart from others, however, is the inclusion of background singers; "ooh"s and "aah"s sing the parts that would more commonly be assigned to violins, and the idea works surprisingly well, providing a near-ethereal effect. The musical arrangements are simply perfect throughout, and the strongest work lies in the uptempo "Nica's Dream" and the silky ballad "Infinidad."

The end results simply cannot be beat: two albums, two distinct artistic approaches of a jazz legend, a top-notch remastering job, and extensive liner notes...all on one disc at a reasonable price. No fan of instrumental jazz could ask for more.