Stan Getz Music

It is a wonderful tribute album from one of the all time jazz greats. Timelees.

Excellent as an introduction to a most versatile and brilliant musician. Wonderful compilation for those whose appreciation for the unique talent of Stan Getz is many years old.

"Stan Getz was a tenor of the first rank who, while exploring and pursuing a purity of musical expression, maintained a large following... The primary reason for his greatness and his popularity lies elsewhere, in his tone. It is uniquely his. Big and pure and rich and definite, it possesses such an intrinsic appeal that master saxophonist and innovator John Coltrane proclaimed his envy of it - and Roost Records released a Getz album in the Fifties called, simply and accurately "The Sound." ~ Benjamin Franklin V ~

"The Essential Stan Getz" is a collection of the very best and most charming recordings of Getz between 1952 and 1963. It is a mix of Great American standards and Bossa Nova staples in which the great saxophonist both excelled in. He is supported by the most brilliant conductors he had ever known, Claus Ogerman and Russell Garcia, and also a bevy of the finest musicians whom he had long-lasting relationships, the likes of Oscar Peterson, Charlie Byrd, Kenny Burrell, Antonio Carlos Jobim, Ray Brown, Herb Ellis, Shelly Manne, Lou Levy, Leroy Vinnegar, João and Astrud Gilberto, among others.

For someone looking to start a Stan Getz collection, I most definitely recommend this compilation for a starter to better appreciate his distinctively gorgeous sound. The entire CD is such a joy to listen to especially the best tunes that are so powerful and can captivate your ears at first listen - "Early Autumn," "All The Things You Are," "Bahia," "Moonlight in Vermont," "Pennies From Heaven," "Quiet Nights of Quiet Stars" and "Girl From Ipanema."

Have a pleasant listening experience!

Stan Getz was among the masters of the Tenor Saxophone. This particular compilation is from recordings he made on Verve records, and spans recording dates from early 1952 to late 1963. It includes two cuts, "The Girl from Ipanema" and "Corcovado" from the Getz/Gilberto session. He is also heard with various groups, including such sidemen as Shelly Manne, the Oscar Peterson Trio (without a drummer!), Mose Allison, Charley Bird and Kenny Burrell.

This CD is fairly representative of Stan's work. He sounds great in all settings, His smooth, lyrical, yet fluent technique is evident throughout. The tunes are standards, tempos range from ballads (Body and Soul) to medium swing. There are no furious tempos.

The track list is:

Body and Soul
These Foolish Things
Of Thee I Sing
Serenade in Blue
All The Things You Are
Detour Ahead
Pennies From heaven
It Never Entered My Mind
Early Autumn (recorded later than his initial famous solo)
Bahia
Round Midnight
Corcovado

Moonlight in Vermont
The Girl From Ipanema

While, I like most of the tracks except for Bahia, which has an unfocussed arrangement, as compilations go, there could be some minor improvements. In a compilation, I like to see wider coverage of an entire career, which in Stan's case lasted into the 80's. Also, there are no songs with really fast tempos. He was a master of time at all tempos and some up-tempo pieces should have been included. For this reason, I went 4 stars, I like more breath in the compilations and the entire Getz/Gilberto album should be enjoyed, not just a few of the cuts.

My favorite cuts are the two from the Getz/Gilberto album plus "Pennies From Heaven" with the Oscar Peterson Trio.

He was known for his sound: big, lyrical, unique and immediately identifiable. However, the people who focus on the sound sometimes give short shrift to his technical facility. One, which in my opinion, at least approached the facility of Coltrane and was comparable to the other masters of the tenor. Even though he did not push the edges of the instrument the way Trane did, nevertheless, he was a trailblazer. "The Girl From Ipanema", with the famous version included in this CD, is a part of nearly every tenor sax player's repertoire and that is Stan's contribution. His Getz/Gilberto CD was seminal in taking the instrument into Brazilian and Latin music. I, for one, am glad that he did. Plus, his solos, at whatever tempo, we very well-constructed and deliberate. He was quoted one time as saying, "I never played a note I didn't mean" and that is a high standard applied to any improvising musician. He, like Coltrane, has his disciples, too.

He initially became famous as part of Woody Herman's "Four Brothers". The story is that he became famous with an improvised solo on "Early Autumn", which is in a difficult key for many saxophonists. He performed new and interesting music throughout his career and his albums were well regarded by listeners and musicians alike.

I recommend this CD for anyone wanting an introduction to his work or looking to add to their collection of his playing. Obviously, like on any compilation, you need to look at what cuts you already have. Plus, many of these songs are included in the available transcription books and, so, I almost always recommend this CD to my jazz students. Certainly, this music is worthy of study by any jazz saxophonist and might be interesting for other instruments as well.

Well.. I have a personal personal story with this album. Normaly I listen to a new record three or four time the firsts days after the purchase so I can get the tunes and dig into the music. When I can't ¨connect¨with the album I prefer to sell it. It happened to me with this CD.

I have to say that I prefer more challenging stuff in jazz... like Coleman or Coltrane, and this album sounds so weak to my ears. I'm not a heavy fan of bossa nova, I have to confess. I even think bossa nova isn't jazz at all. But, instead of sell it, I decided to keep the album, I didn't know why but I did it.

I have been rediscovering the album these days. Now I know why Stan getz is called ¨the sound¨: His tone is full, warm and very rich. His soloing style is unique and I'm starting to like bossa nova, all thanks to ¨Bahia¨ and ¨Corcovado¨. In a certain way, it changed my point of view about this genre in particular.

In conclusion, ¨The Getz Songbook¨ is perfect way to introduce yourself into the Getz sound and take an approach to the bossa nova stuff.

It is a wonderful tribute album from one of the all time jazz greats. Timelees.

Excellent as an introduction to a most versatile and brilliant musician. Wonderful compilation for those whose appreciation for the unique talent of Stan Getz is many years old.

"Stan Getz was a tenor of the first rank who, while exploring and pursuing a purity of musical expression, maintained a large following... The primary reason for his greatness and his popularity lies elsewhere, in his tone. It is uniquely his. Big and pure and rich and definite, it possesses such an intrinsic appeal that master saxophonist and innovator John Coltrane proclaimed his envy of it - and Roost Records released a Getz album in the Fifties called, simply and accurately "The Sound." ~ Benjamin Franklin V ~

"The Essential Stan Getz" is a collection of the very best and most charming recordings of Getz between 1952 and 1963. It is a mix of Great American standards and Bossa Nova staples in which the great saxophonist both excelled in. He is supported by the most brilliant conductors he had ever known, Claus Ogerman and Russell Garcia, and also a bevy of the finest musicians whom he had long-lasting relationships, the likes of Oscar Peterson, Charlie Byrd, Kenny Burrell, Antonio Carlos Jobim, Ray Brown, Herb Ellis, Shelly Manne, Lou Levy, Leroy Vinnegar, João and Astrud Gilberto, among others.

For someone looking to start a Stan Getz collection, I most definitely recommend this compilation for a starter to better appreciate his distinctively gorgeous sound. The entire CD is such a joy to listen to especially the best tunes that are so powerful and can captivate your ears at first listen - "Early Autumn," "All The Things You Are," "Bahia," "Moonlight in Vermont," "Pennies From Heaven," "Quiet Nights of Quiet Stars" and "Girl From Ipanema."

Have a pleasant listening experience!

Stan Getz was among the masters of the Tenor Saxophone. This particular compilation is from recordings he made on Verve records, and spans recording dates from early 1952 to late 1963. It includes two cuts, "The Girl from Ipanema" and "Corcovado" from the Getz/Gilberto session. He is also heard with various groups, including such sidemen as Shelly Manne, the Oscar Peterson Trio (without a drummer!), Mose Allison, Charley Bird and Kenny Burrell.

This CD is fairly representative of Stan's work. He sounds great in all settings, His smooth, lyrical, yet fluent technique is evident throughout. The tunes are standards, tempos range from ballads (Body and Soul) to medium swing. There are no furious tempos.

The track list is:

Body and Soul
These Foolish Things
Of Thee I Sing
Serenade in Blue
All The Things You Are
Detour Ahead
Pennies From heaven
It Never Entered My Mind
Early Autumn (recorded later than his initial famous solo)
Bahia
Round Midnight
Corcovado

Moonlight in Vermont
The Girl From Ipanema

While, I like most of the tracks except for Bahia, which has an unfocussed arrangement, as compilations go, there could be some minor improvements. In a compilation, I like to see wider coverage of an entire career, which in Stan's case lasted into the 80's. Also, there are no songs with really fast tempos. He was a master of time at all tempos and some up-tempo pieces should have been included. For this reason, I went 4 stars, I like more breath in the compilations and the entire Getz/Gilberto album should be enjoyed, not just a few of the cuts.

My favorite cuts are the two from the Getz/Gilberto album plus "Pennies From Heaven" with the Oscar Peterson Trio.

He was known for his sound: big, lyrical, unique and immediately identifiable. However, the people who focus on the sound sometimes give short shrift to his technical facility. One, which in my opinion, at least approached the facility of Coltrane and was comparable to the other masters of the tenor. Even though he did not push the edges of the instrument the way Trane did, nevertheless, he was a trailblazer. "The Girl From Ipanema", with the famous version included in this CD, is a part of nearly every tenor sax player's repertoire and that is Stan's contribution. His Getz/Gilberto CD was seminal in taking the instrument into Brazilian and Latin music. I, for one, am glad that he did. Plus, his solos, at whatever tempo, we very well-constructed and deliberate. He was quoted one time as saying, "I never played a note I didn't mean" and that is a high standard applied to any improvising musician. He, like Coltrane, has his disciples, too.

He initially became famous as part of Woody Herman's "Four Brothers". The story is that he became famous with an improvised solo on "Early Autumn", which is in a difficult key for many saxophonists. He performed new and interesting music throughout his career and his albums were well regarded by listeners and musicians alike.

I recommend this CD for anyone wanting an introduction to his work or looking to add to their collection of his playing. Obviously, like on any compilation, you need to look at what cuts you already have. Plus, many of these songs are included in the available transcription books and, so, I almost always recommend this CD to my jazz students. Certainly, this music is worthy of study by any jazz saxophonist and might be interesting for other instruments as well.

Well.. I have a personal personal story with this album. Normaly I listen to a new record three or four time the firsts days after the purchase so I can get the tunes and dig into the music. When I can't ¨connect¨with the album I prefer to sell it. It happened to me with this CD.

I have to say that I prefer more challenging stuff in jazz... like Coleman or Coltrane, and this album sounds so weak to my ears. I'm not a heavy fan of bossa nova, I have to confess. I even think bossa nova isn't jazz at all. But, instead of sell it, I decided to keep the album, I didn't know why but I did it.

I have been rediscovering the album these days. Now I know why Stan getz is called ¨the sound¨: His tone is full, warm and very rich. His soloing style is unique and I'm starting to like bossa nova, all thanks to ¨Bahia¨ and ¨Corcovado¨. In a certain way, it changed my point of view about this genre in particular.

In conclusion, ¨The Getz Songbook¨ is perfect way to introduce yourself into the Getz sound and take an approach to the bossa nova stuff.

I am glad I have the LP entitled: Pops Goes Country with Arthur Fiedler and Chet Atkins performing these tunes:
Country Gentleman
Tennessee Waltz
Alabama Jubilee
Faded Love
In the Pines/Wildwood Flower/On ...
Windy and Warm
I'll Fly Away
Adios Amigo
John Henry/Listen to the Mocking...
Cold, Cold Heart
I'm Thinking Tonight of My Blue ...
Orange Blossom Special

The intresting part of the 'special guests' of Arthur Fiedler was that the single Cd's were actually taken from complete performances at Tanglewood in Lennox, Massachusetts, of the 'guest' artist with the Pops as part of a complete concert. As far as I know, the complete perfomances were only released on cassettes. I am lucky to own the complete Tanglewood concert with Duke Ellington as guest.

By 1961 when "Focus" was recorded, Stan Getz was a rising jazz star. "Focus" is one of a kind. The strings are not used as "filler" behind Getz's marvelous playing. The Beaux Arts Orchestra does not sound as if they are a "second thought". Their contribution is integral to the magic that is "Focus". The composer Eddie Sauter, who arranged for Benny Goodman, and Getz have successfully united both strings and horn into one joyous celebration of sound. Both Getz's horn and Beaux Arts strings interact in a "call and response" which is why this music is unique among "Third Stream" jazz recordings. Few "jazz and strings" recordings have succeeded in their mission as well as "Focus". While "Charlie Parker with Strings" (1947-49) set a precedent, Getz and Sauter's work abundantly fulfilled the "Third Stream" vision.

All of his life, Getz explored many avenues in music. Yes, all of Sauter's original musical score on this album sound like a film noir movie score from the 50s, but the brilliance of Getz's sound overshadows all of that. Getz's tonality is unbelievable, and "I'm Late, I'm Late" is an all-time treasure (not to mention "Night Rider"), just like "Take Five" was for Dave Brubeck. Getz just can't be remembered for the Samba stage of his life (e.g. Jobim and "Girl from Ipanema"); the "classical" side of his brilliance must shine as well. "Focus" does that for us.

A number of reviewers do not rate this work too highly, maybe because it is at times eccentric, disjointed and very different. However, like many fine works of art, sometimes you just need to stand back, take it in for a while and slowly the appreciation blossoms. This is how I felt about 'Focus'! It starts to haunt you, sweep you along and you marvel at the ingenuity that Stan Getz brings; even though he at times is on the edge of his technique. Enjoy and immerse yourself in what is an amazing collaberation of musical rhythm and musicianship.

I hate to be a wet blanket thrown over very warm reviews here, but this album doesn't do much for me. It lacks the bounce and giddiness of the Jazz Samba album, the collaborative briliance of Getz/Gilberto, and the energy of Captain Marvel--all albums that I have listened to repeatedly. This one, however, I have played only 2 or 3 times. What does it sound like? It is Getz playing mostly to string accompaniment. One could call this Getz's "Sketches of Spain" album. It sounds a bit like Getz playing a musical score for a film that you are not watching. For me, the melodies--Getz's strong point--just aren't here. It is an earnest effort, to be sure, but it felt too much like noodling.

I'm a member of WBGO -- the NPR-Jazz station around NYC/NJ, and I'd just bought their 25th-Anniversary compliation of what they hailed to be 30 of the greatest tracks from Verve and Blue Note Records. I'd not listened to all of it yet, but figured that this would be good listening as I worked out. I put the second CD and started pedaling, when Night Rider came on. I had to stop and just listen. It was about the most amazing jazz tune I'd heard in awhile -- a virtuousic saxophone sailing amongst a turbulent sea of strings. After listening to that one song, I had to get the album.

By 1961 when "Focus" was recorded, Stan Getz was a rising jazz star. "Focus" is one of a kind. The strings are not used as "filler" behind Getz's marvelous playing. The Beaux Arts Orchestra does not sound as if they are a "second thought". Their contribution is integral to the magic that is "Focus". The composer Eddie Sauter, who arranged for Benny Goodman, and Getz have successfully united both strings and horn into one joyous celebration of sound. Both Getz's horn and Beaux Arts strings interact in a "call and response" which is why this music is unique among "Third Stream" jazz recordings. Few "jazz and strings" recordings have succeeded in their mission as well as "Focus". While "Charlie Parker with Strings" (1947-49) set a precedent, Getz and Sauter's work abundantly fulfilled the "Third Stream" vision.

All of his life, Getz explored many avenues in music. Yes, all of Sauter's original musical score on this album sound like a film noir movie score from the 50s, but the brilliance of Getz's sound overshadows all of that. Getz's tonality is unbelievable, and "I'm Late, I'm Late" is an all-time treasure (not to mention "Night Rider"), just like "Take Five" was for Dave Brubeck. Getz just can't be remembered for the Samba stage of his life (e.g. Jobim and "Girl from Ipanema"); the "classical" side of his brilliance must shine as well. "Focus" does that for us.

A number of reviewers do not rate this work too highly, maybe because it is at times eccentric, disjointed and very different. However, like many fine works of art, sometimes you just need to stand back, take it in for a while and slowly the appreciation blossoms. This is how I felt about 'Focus'! It starts to haunt you, sweep you along and you marvel at the ingenuity that Stan Getz brings; even though he at times is on the edge of his technique. Enjoy and immerse yourself in what is an amazing collaberation of musical rhythm and musicianship.

I hate to be a wet blanket thrown over very warm reviews here, but this album doesn't do much for me. It lacks the bounce and giddiness of the Jazz Samba album, the collaborative briliance of Getz/Gilberto, and the energy of Captain Marvel--all albums that I have listened to repeatedly. This one, however, I have played only 2 or 3 times. What does it sound like? It is Getz playing mostly to string accompaniment. One could call this Getz's "Sketches of Spain" album. It sounds a bit like Getz playing a musical score for a film that you are not watching. For me, the melodies--Getz's strong point--just aren't here. It is an earnest effort, to be sure, but it felt too much like noodling.

I'm a member of WBGO -- the NPR-Jazz station around NYC/NJ, and I'd just bought their 25th-Anniversary compliation of what they hailed to be 30 of the greatest tracks from Verve and Blue Note Records. I'd not listened to all of it yet, but figured that this would be good listening as I worked out. I put the second CD and started pedaling, when Night Rider came on. I had to stop and just listen. It was about the most amazing jazz tune I'd heard in awhile -- a virtuousic saxophone sailing amongst a turbulent sea of strings. After listening to that one song, I had to get the album.