Stan Getz Music

This is a wonderful album. The tunes and the performances are tremendous. I don't know who the keyboard player is but if you enjoy piano, that in itself is worth the album. The band is so tight and smooth; excellent recording. Highly recommended.

Stan Getz was 60, sick and considered washed up by many in jazz after a decade or so of trying to follow the latest trends like fusion.

But he was off the drugs and alchohol. He went back to doing what he did best, beatiful lyric saxophone, 3d blue velvet fog sculpted notes on jazz standards. (No bossa nova). Ballads and bebop. The result is one of the greatest comeback albums of all time, rival's Bob Dylan's latest.

There is no attempt to be "cool". He is more expressive and emotional (happy, sad) than his early work, without ever sounding angry or cynical.

Excellent back up band. Excellent recording.

2005 update - of all the Getz albums I have, and I have a lot, this is the one I listen to most. More than Getz/Gilberto, more than Bossa & Ballads, more than Jazz Samba, etc. The music just pours from his soul as if the sax were connected to his heart. All are masterpieces but "Blood Count" "Stella By Starlight", "I thought about you" and "I Can't get Started" sparkle with a real magic.

Highest recommendation

This is a wonderful album. The tunes and the performances are tremendous. I don't know who the keyboard player is but if you enjoy piano, that in itself is worth the album. The band is so tight and smooth; excellent recording. Highly recommended.

Stan Getz was 60, sick and considered washed up by many in jazz after a decade or so of trying to follow the latest trends like fusion.

But he was off the drugs and alchohol. He went back to doing what he did best, beatiful lyric saxophone, 3d blue velvet fog sculpted notes on jazz standards. (No bossa nova). Ballads and bebop. The result is one of the greatest comeback albums of all time, rival's Bob Dylan's latest.

There is no attempt to be "cool". He is more expressive and emotional (happy, sad) than his early work, without ever sounding angry or cynical.

Excellent back up band. Excellent recording.

2005 update - of all the Getz albums I have, and I have a lot, this is the one I listen to most. More than Getz/Gilberto, more than Bossa & Ballads, more than Jazz Samba, etc. The music just pours from his soul as if the sax were connected to his heart. All are masterpieces but "Blood Count" "Stella By Starlight", "I thought about you" and "I Can't get Started" sparkle with a real magic.

Highest recommendation

The acoustic cuts are the highlights on this one...and "Blue Serge" is a mellow little number that ranks with Stan's best!! "Brave Little Pernille" also has a certain charm. I'm hoping Sony/Columbia releases this domestically....I have a Canadian release (Sony).

Some of the material is wonderful, flowing Getz doing what he did best, some isn't the Getz I'm used to. Great sounds but definitely "counter culture" influenced. Nice to hear the experimentation with electronics. "Pretty City", "Keep Dreaming" and "Another World" get a little spacey. Other tunes like "Sum Sum" and "Willow Weep For Me" are jazzy, cool Getz. Fine stuff altogether. Note, actually procured and listened to the original LP recording of this release.

I guess that everything Getz ever recorded is first class stuff, so it is indeed difficult to rate any of this records with less than five stars. It's a pity that this one is unavailable on CD (I have a French CD release, as well as the original US LP edition) because I find it a must in Getz's discography, precisely because of the title tune "Another World", where we find him experimenting with the electronic delay provided by an Echoplex device. In the liner notes, Stan Getz tells us about how he was amazed with the possibilities opened by that this new electronic world. Unfortunately, no mater how much he enjoyed this experiment, it was the only one of this kind that he ever recorded, as far as I know.
Only this theme would be reason enough to recommend this record, and this is why I find that this recording deserves a special place in Getz's discography.
Besides, all the other tunes are simply Getz at his best. Just another five star Getz record...!

CABU Music and Koch presents "STAN GETZ - ANTHOLOGY 1952-1955" --- Stanley Getz (February 2, 1927 in Philadelphia - June 6, 1991 in Malibu, California), usually known by his stage name Stan Getz, was an American jazz saxophone player --- Known as "The Sound" because of his warm, lyrical tone, Getz's prime influence was the wispy, mellow tone of his idol, Lester Young --- In 1986, however, Getz said: "I never consciously tried to conceive of what my sound should be...".

In the 1950s, Getz became popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson, and many others --- His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes, pianist Al Haig and bassist Tommy Potter --- A 1953 line-up of the Dizzy Gillespie/Stan Getz Sextet featured Gillespie, Getz, Oscar Peterson, Herb Ellis, Ray Brown and Max Roach.

Towards the end of his life the now drug-free Getz had another creative peak with a group including the pianist Kenny Barron, whom Getz described as "my musical other half" --- In 1986, he was inducted into the Down Beat Jazz Hall of Fame --- (From Wikipedia, the free encyclopedia)

ANTHOLOGY 1952-1955 (Track Listings)
DISC ONE (1)
1 Stella by Starlight / Stan Getz Quintet 2:45
2 Stars Fell on Alabama / Stan Getz Quintet 3:23
3 The Way You Look Tonight / Stan Getz Quintet 3:07
4 Body and Soul / Stan Getz Quintet 3:17
5 Rustic Hop / Stan Getz Quintet 3:52
6 Lee / Jimmy Raney Quartet 4:21
7 'Round About Midnight / Jimmy Raney Quartet 5:22
8 Spring Is Here / Stan Getz Quintet 6:13
9 The Nearness of You / Stan Getz Quintet 3:45
10 It Don't Mean a Thing (If It Ain't Got That Swing) / Dizzy Gillespie 6:39
11 Nobody Else But Me / Stan Getz Quartet 3:35
12 Down by the Sycamore Tree / Stan Getz Quartet 3:03
13 I Hadn't Anyone Till You / Stan Getz Quartet 2:53
14 With the Wind and the Rain in Your Hair / Stan Getz Quartet 3:49
15 Flamingo / Stan Getz Quintet 7:30
16 Lover Man / Stan Getz Quintet 4:57
17 Open Country / Stan Getz Quintet 5:49

DISC TWO (2)
1 Little Pony / Count Basie Orchestra 2:22
2 Easy Living / Count Basie Orchestra 4:07
3 Nails / Count Basie Orchestra 3:53
4 Suddenly It's Spring / Stan Getz Quintet 6:59
5 S-H-I-N-E / Stan Getz Quintet 8:56
6 Of Thee I Sing / Stan Getz Quartet 4:13
7 A Handful of Stars / Stan Getz Quartet 3:22
8 Love Is Here to Stay / Stan Getz Quartet 3:33
9 Serenade in Blue / Stan Getz Quartet 3:58
10 Cherokee / Lionel Hampton 9:21
11 Everything Happens to Me / Stan Getz Quartet 7:15
12 Get Happy / Stan Getz Quartet 5:16
13 Over the Rainbow / Stan Getz Quartet 5:28
14 Jeepers Creepers / Stan Getz Quartet 5:03

Hats off to Cabu Music and Koch --- strongly recommend this CD to music lovers and all others who need to hear some great Jazz music --- Stan Getz please stand up and take a bow for this well deserved rare gem you've given us --- this is a keeper!

Total Time: 147 mins on 31 Tracks ~ CABU Music 533 ~ (4/01/2008)

Though said to be already ill with the cancer that would kill him, one would hardly know from Stan Getz's sure way with the melodies on this disc in which synthesizers fill the function of strings (adding color and aural background.) Trad listeners might be put off by producer Herb Alpert, fearing too much gloss, but Getz specifically thanks his producer . The production is deft with arrangements by Alpert and synthesizer player Eddie del Barrio leaving the Latin style songs (written by del Barrio, Alpert, and Getz) as showcases for the tenor. Too, Getz's late career muse Kenny Barron is on acoustic piano lending his classy and wise leavening touch. A personal favorite track is "Waltz For Stan" with its caressing sound from the honoree. "Midnight Ride" and the title tune also warm the ears and heart. I like this as much as the different, but equally gorgeous "Winter Moon" by Art Pepper (another five star with strings.)

This disc is one that gets getter every time I listen to it. When it first came out, I was a little annoyed because it seemed overproduced. However, in retrospect, it doesn't matter how much "fluff" you add, Getz's playing manages to make the experience memorable. Stan Getz is one of those rare artists who has the ability to take someone else's songs and make them distinctly his own. Although he was not a prolific music writer, his interpretatations have left an indelible mark on the world of jazz. Getz is a master of the understatement. He doesn't add notes where they are not needed. He does not rely on the Kenny G school of pointless arpegios to astound us with his swift (though undeniable flat) fingerwork. I am always amazed by his clarity of pitch. Stan Getz was truly a master, and I only regret that I was unable to see him perform live.

I am a big Stan Getz fan and this is my favorite of all his recordings. I'm not sure that one could find a more soulful song than Waltz for Stan, or a more soulful CD than Apasionado.

The legend of Stan Getz has always fascinated me and in 1990 when this masterpiece was released, Stan Getz made an appearance on the Boston Pops where he also played with the other guest artist Melissa Manchester and was so extraordinary that I purchased "Apasionado" upon its release!! Hypnotic is the opening title song and Stan plays with so much soul that I am carried away each time and the arrangement is incredible!! Kenny Barron on Acoustic Piano is also amazing and this is truly a magical musical journey that is a great escape and the best instrumental set in my collection that I come back to year after year!!! Orchestrations flow and the fluid solo of Stan in "Coba" is again brilliantly complemented by the masterful Kenny Barron creating a rich tropical delight full of passion. Totally inspired is this set of original classics that were all composed by producer Herb Alpert, arranger Eddie del Barrio and Stan Getz himself!!! Mesmerizing is the enchanting "Waltz For Stan" with Stan giving a soulful and glorious performanace quite unlike anything I have ever experience before and the arrangement again beautifully showcases his classic solo. Exotic latin rhythms caress and surround a gorgeous passionate solo that is full of fire in the exquisite "Espanola" while fascinating rhythm changes make "Madrugada" a wild ride with incredible interplay between Stan and Kenny Barron with both at their absolute peak!! Each work has its own unique feel with Stan mellow yet powerful and all over the map and at his all time creative peak and one would never know that he was extremely ill when this recording was made. I was so sad when he passed away so quickly after its release as this was a new plateau...Stan weaves a mellow spell in the beautiful jazzy "Quiet Storm" classic "Amorous Cat" and gives another masterful performance in the tour-de-force "Midnight Ride" which again features GREAT keyboard playing by Kenny Barron that flows beautifully with Mr. Getz who is at an incredible peak in this stunning masterpiece that is a ride you won't want to end!!! Ending this soulful set is the soft and haunting "Lonely Lady" that is a 4 A.M. classic that is very smooth and a lovely ending to a remarkable set that is my personal favorite from this legend...Thank You Mr. Getz for this incredible gift that is from your soul...This is a timeless classic...

. . . what with the master finding himself in a setting with electric piano, various synthesizers, background horn "sweetening," and fusion drummer Jeff Porcaro. But you know what? His res, the shear weight of his presence, lifts what could've been a lightweight, throwaway date into the stratosphere--or at least the upper atmosphere.

When this session was recorded in the early nineties, jazz was going through an awkward phase. It was thought by many that it could not compete with New Age and Fusion music without a little sweetening and compromise. If it stayed true to itself and its roots, it would find itself relegated to the musical backwaters of cultural irrelevance. The subsequent decade and a half have pretty thoroughly laid to rest that notion, but the jazz world at this time found itself littered with attempts to make it relevant.

This is one of those. And one of the more successful efforts. But it's almost entirely because of the enormous presence of Getz, the most significant sax voice of his generation, and one of a handful of giants on his instrument in the history of jazz.

Still, when all is said and done, this is a disc a lot more likely to appeal to fans of the Rippingtons than fans of Joe Lovano. The songs, all except one credited to Eddie del Barrio, Herb Alpert, and Getz himself, seldom rise above pleasant though rather generic-sounding jazz fusion, mostly of a vaguely Brazilian sort. Jobim lite.

On the other hand, it does have Kenny Barron on piano, Oscar Castro Neves on guitar, and Paulinho da Costa on percussion, players of the first rank, who generally lend the proceedings a gravitas not usually associated with smooth jazz, and even occasionally goose Mr. Getz into some impassioned statements.

Throw in some very slick arranging, production, and recording values and you have a disc that nearly swamps the leader in saccharin. But doesn't. Just barely.

Certainly worth owning, as any Getz disc is, if only for its novelty value and to hear the master beat the surrounding fluff into submission. But not essential. If faced with a choice, you're better off with Bossas & Ballads: The Lost Sessions, from around the same period, which IS among Getz's greatest ever discs. Four-and-a-half stars.

Though said to be already ill with the cancer that would kill him, one would hardly know from Stan Getz's sure way with the melodies on this disc in which synthesizers fill the function of strings (adding color and aural background.) Trad listeners might be put off by producer Herb Alpert, fearing too much gloss, but Getz specifically thanks his producer . The production is deft with arrangements by Alpert and synthesizer player Eddie del Barrio leaving the Latin style songs (written by del Barrio, Alpert, and Getz) as showcases for the tenor. Too, Getz's late career muse Kenny Barron is on acoustic piano lending his classy and wise leavening touch. A personal favorite track is "Waltz For Stan" with its caressing sound from the honoree. "Midnight Ride" and the title tune also warm the ears and heart. I like this as much as the different, but equally gorgeous "Winter Moon" by Art Pepper (another five star with strings.)

This disc is one that gets getter every time I listen to it. When it first came out, I was a little annoyed because it seemed overproduced. However, in retrospect, it doesn't matter how much "fluff" you add, Getz's playing manages to make the experience memorable. Stan Getz is one of those rare artists who has the ability to take someone else's songs and make them distinctly his own. Although he was not a prolific music writer, his interpretatations have left an indelible mark on the world of jazz. Getz is a master of the understatement. He doesn't add notes where they are not needed. He does not rely on the Kenny G school of pointless arpegios to astound us with his swift (though undeniable flat) fingerwork. I am always amazed by his clarity of pitch. Stan Getz was truly a master, and I only regret that I was unable to see him perform live.

I am a big Stan Getz fan and this is my favorite of all his recordings. I'm not sure that one could find a more soulful song than Waltz for Stan, or a more soulful CD than Apasionado.

The legend of Stan Getz has always fascinated me and in 1990 when this masterpiece was released, Stan Getz made an appearance on the Boston Pops where he also played with the other guest artist Melissa Manchester and was so extraordinary that I purchased "Apasionado" upon its release!! Hypnotic is the opening title song and Stan plays with so much soul that I am carried away each time and the arrangement is incredible!! Kenny Barron on Acoustic Piano is also amazing and this is truly a magical musical journey that is a great escape and the best instrumental set in my collection that I come back to year after year!!! Orchestrations flow and the fluid solo of Stan in "Coba" is again brilliantly complemented by the masterful Kenny Barron creating a rich tropical delight full of passion. Totally inspired is this set of original classics that were all composed by producer Herb Alpert, arranger Eddie del Barrio and Stan Getz himself!!! Mesmerizing is the enchanting "Waltz For Stan" with Stan giving a soulful and glorious performanace quite unlike anything I have ever experience before and the arrangement again beautifully showcases his classic solo. Exotic latin rhythms caress and surround a gorgeous passionate solo that is full of fire in the exquisite "Espanola" while fascinating rhythm changes make "Madrugada" a wild ride with incredible interplay between Stan and Kenny Barron with both at their absolute peak!! Each work has its own unique feel with Stan mellow yet powerful and all over the map and at his all time creative peak and one would never know that he was extremely ill when this recording was made. I was so sad when he passed away so quickly after its release as this was a new plateau...Stan weaves a mellow spell in the beautiful jazzy "Quiet Storm" classic "Amorous Cat" and gives another masterful performance in the tour-de-force "Midnight Ride" which again features GREAT keyboard playing by Kenny Barron that flows beautifully with Mr. Getz who is at an incredible peak in this stunning masterpiece that is a ride you won't want to end!!! Ending this soulful set is the soft and haunting "Lonely Lady" that is a 4 A.M. classic that is very smooth and a lovely ending to a remarkable set that is my personal favorite from this legend...Thank You Mr. Getz for this incredible gift that is from your soul...This is a timeless classic...

. . . what with the master finding himself in a setting with electric piano, various synthesizers, background horn "sweetening," and fusion drummer Jeff Porcaro. But you know what? His res, the shear weight of his presence, lifts what could've been a lightweight, throwaway date into the stratosphere--or at least the upper atmosphere.

When this session was recorded in the early nineties, jazz was going through an awkward phase. It was thought by many that it could not compete with New Age and Fusion music without a little sweetening and compromise. If it stayed true to itself and its roots, it would find itself relegated to the musical backwaters of cultural irrelevance. The subsequent decade and a half have pretty thoroughly laid to rest that notion, but the jazz world at this time found itself littered with attempts to make it relevant.

This is one of those. And one of the more successful efforts. But it's almost entirely because of the enormous presence of Getz, the most significant sax voice of his generation, and one of a handful of giants on his instrument in the history of jazz.

Still, when all is said and done, this is a disc a lot more likely to appeal to fans of the Rippingtons than fans of Joe Lovano. The songs, all except one credited to Eddie del Barrio, Herb Alpert, and Getz himself, seldom rise above pleasant though rather generic-sounding jazz fusion, mostly of a vaguely Brazilian sort. Jobim lite.

On the other hand, it does have Kenny Barron on piano, Oscar Castro Neves on guitar, and Paulinho da Costa on percussion, players of the first rank, who generally lend the proceedings a gravitas not usually associated with smooth jazz, and even occasionally goose Mr. Getz into some impassioned statements.

Throw in some very slick arranging, production, and recording values and you have a disc that nearly swamps the leader in saccharin. But doesn't. Just barely.

Certainly worth owning, as any Getz disc is, if only for its novelty value and to hear the master beat the surrounding fluff into submission. But not essential. If faced with a choice, you're better off with Bossas & Ballads: The Lost Sessions, from around the same period, which IS among Getz's greatest ever discs. Four-and-a-half stars.

Though said to be already ill with the cancer that would kill him, one would hardly know from Stan Getz's sure way with the melodies on this disc in which synthesizers fill the function of strings (adding color and aural background.) Trad listeners might be put off by producer Herb Alpert, fearing too much gloss, but Getz specifically thanks his producer . The production is deft with arrangements by Alpert and synthesizer player Eddie del Barrio leaving the Latin style songs (written by del Barrio, Alpert, and Getz) as showcases for the tenor. Too, Getz's late career muse Kenny Barron is on acoustic piano lending his classy and wise leavening touch. A personal favorite track is "Waltz For Stan" with its caressing sound from the honoree. "Midnight Ride" and the title tune also warm the ears and heart. I like this as much as the different, but equally gorgeous "Winter Moon" by Art Pepper (another five star with strings.)

This disc is one that gets getter every time I listen to it. When it first came out, I was a little annoyed because it seemed overproduced. However, in retrospect, it doesn't matter how much "fluff" you add, Getz's playing manages to make the experience memorable. Stan Getz is one of those rare artists who has the ability to take someone else's songs and make them distinctly his own. Although he was not a prolific music writer, his interpretatations have left an indelible mark on the world of jazz. Getz is a master of the understatement. He doesn't add notes where they are not needed. He does not rely on the Kenny G school of pointless arpegios to astound us with his swift (though undeniable flat) fingerwork. I am always amazed by his clarity of pitch. Stan Getz was truly a master, and I only regret that I was unable to see him perform live.

I am a big Stan Getz fan and this is my favorite of all his recordings. I'm not sure that one could find a more soulful song than Waltz for Stan, or a more soulful CD than Apasionado.

The legend of Stan Getz has always fascinated me and in 1990 when this masterpiece was released, Stan Getz made an appearance on the Boston Pops where he also played with the other guest artist Melissa Manchester and was so extraordinary that I purchased "Apasionado" upon its release!! Hypnotic is the opening title song and Stan plays with so much soul that I am carried away each time and the arrangement is incredible!! Kenny Barron on Acoustic Piano is also amazing and this is truly a magical musical journey that is a great escape and the best instrumental set in my collection that I come back to year after year!!! Orchestrations flow and the fluid solo of Stan in "Coba" is again brilliantly complemented by the masterful Kenny Barron creating a rich tropical delight full of passion. Totally inspired is this set of original classics that were all composed by producer Herb Alpert, arranger Eddie del Barrio and Stan Getz himself!!! Mesmerizing is the enchanting "Waltz For Stan" with Stan giving a soulful and glorious performanace quite unlike anything I have ever experience before and the arrangement again beautifully showcases his classic solo. Exotic latin rhythms caress and surround a gorgeous passionate solo that is full of fire in the exquisite "Espanola" while fascinating rhythm changes make "Madrugada" a wild ride with incredible interplay between Stan and Kenny Barron with both at their absolute peak!! Each work has its own unique feel with Stan mellow yet powerful and all over the map and at his all time creative peak and one would never know that he was extremely ill when this recording was made. I was so sad when he passed away so quickly after its release as this was a new plateau...Stan weaves a mellow spell in the beautiful jazzy "Quiet Storm" classic "Amorous Cat" and gives another masterful performance in the tour-de-force "Midnight Ride" which again features GREAT keyboard playing by Kenny Barron that flows beautifully with Mr. Getz who is at an incredible peak in this stunning masterpiece that is a ride you won't want to end!!! Ending this soulful set is the soft and haunting "Lonely Lady" that is a 4 A.M. classic that is very smooth and a lovely ending to a remarkable set that is my personal favorite from this legend...Thank You Mr. Getz for this incredible gift that is from your soul...This is a timeless classic...

. . . what with the master finding himself in a setting with electric piano, various synthesizers, background horn "sweetening," and fusion drummer Jeff Porcaro. But you know what? His res, the shear weight of his presence, lifts what could've been a lightweight, throwaway date into the stratosphere--or at least the upper atmosphere.

When this session was recorded in the early nineties, jazz was going through an awkward phase. It was thought by many that it could not compete with New Age and Fusion music without a little sweetening and compromise. If it stayed true to itself and its roots, it would find itself relegated to the musical backwaters of cultural irrelevance. The subsequent decade and a half have pretty thoroughly laid to rest that notion, but the jazz world at this time found itself littered with attempts to make it relevant.

This is one of those. And one of the more successful efforts. But it's almost entirely because of the enormous presence of Getz, the most significant sax voice of his generation, and one of a handful of giants on his instrument in the history of jazz.

Still, when all is said and done, this is a disc a lot more likely to appeal to fans of the Rippingtons than fans of Joe Lovano. The songs, all except one credited to Eddie del Barrio, Herb Alpert, and Getz himself, seldom rise above pleasant though rather generic-sounding jazz fusion, mostly of a vaguely Brazilian sort. Jobim lite.

On the other hand, it does have Kenny Barron on piano, Oscar Castro Neves on guitar, and Paulinho da Costa on percussion, players of the first rank, who generally lend the proceedings a gravitas not usually associated with smooth jazz, and even occasionally goose Mr. Getz into some impassioned statements.

Throw in some very slick arranging, production, and recording values and you have a disc that nearly swamps the leader in saccharin. But doesn't. Just barely.

Certainly worth owning, as any Getz disc is, if only for its novelty value and to hear the master beat the surrounding fluff into submission. But not essential. If faced with a choice, you're better off with Bossas & Ballads: The Lost Sessions, from around the same period, which IS among Getz's greatest ever discs. Four-and-a-half stars.

Though said to be already ill with the cancer that would kill him, one would hardly know from Stan Getz's sure way with the melodies on this disc in which synthesizers fill the function of strings (adding color and aural background.) Trad listeners might be put off by producer Herb Alpert, fearing too much gloss, but Getz specifically thanks his producer . The production is deft with arrangements by Alpert and synthesizer player Eddie del Barrio leaving the Latin style songs (written by del Barrio, Alpert, and Getz) as showcases for the tenor. Too, Getz's late career muse Kenny Barron is on acoustic piano lending his classy and wise leavening touch. A personal favorite track is "Waltz For Stan" with its caressing sound from the honoree. "Midnight Ride" and the title tune also warm the ears and heart. I like this as much as the different, but equally gorgeous "Winter Moon" by Art Pepper (another five star with strings.)

This disc is one that gets getter every time I listen to it. When it first came out, I was a little annoyed because it seemed overproduced. However, in retrospect, it doesn't matter how much "fluff" you add, Getz's playing manages to make the experience memorable. Stan Getz is one of those rare artists who has the ability to take someone else's songs and make them distinctly his own. Although he was not a prolific music writer, his interpretatations have left an indelible mark on the world of jazz. Getz is a master of the understatement. He doesn't add notes where they are not needed. He does not rely on the Kenny G school of pointless arpegios to astound us with his swift (though undeniable flat) fingerwork. I am always amazed by his clarity of pitch. Stan Getz was truly a master, and I only regret that I was unable to see him perform live.

I am a big Stan Getz fan and this is my favorite of all his recordings. I'm not sure that one could find a more soulful song than Waltz for Stan, or a more soulful CD than Apasionado.

The legend of Stan Getz has always fascinated me and in 1990 when this masterpiece was released, Stan Getz made an appearance on the Boston Pops where he also played with the other guest artist Melissa Manchester and was so extraordinary that I purchased "Apasionado" upon its release!! Hypnotic is the opening title song and Stan plays with so much soul that I am carried away each time and the arrangement is incredible!! Kenny Barron on Acoustic Piano is also amazing and this is truly a magical musical journey that is a great escape and the best instrumental set in my collection that I come back to year after year!!! Orchestrations flow and the fluid solo of Stan in "Coba" is again brilliantly complemented by the masterful Kenny Barron creating a rich tropical delight full of passion. Totally inspired is this set of original classics that were all composed by producer Herb Alpert, arranger Eddie del Barrio and Stan Getz himself!!! Mesmerizing is the enchanting "Waltz For Stan" with Stan giving a soulful and glorious performanace quite unlike anything I have ever experience before and the arrangement again beautifully showcases his classic solo. Exotic latin rhythms caress and surround a gorgeous passionate solo that is full of fire in the exquisite "Espanola" while fascinating rhythm changes make "Madrugada" a wild ride with incredible interplay between Stan and Kenny Barron with both at their absolute peak!! Each work has its own unique feel with Stan mellow yet powerful and all over the map and at his all time creative peak and one would never know that he was extremely ill when this recording was made. I was so sad when he passed away so quickly after its release as this was a new plateau...Stan weaves a mellow spell in the beautiful jazzy "Quiet Storm" classic "Amorous Cat" and gives another masterful performance in the tour-de-force "Midnight Ride" which again features GREAT keyboard playing by Kenny Barron that flows beautifully with Mr. Getz who is at an incredible peak in this stunning masterpiece that is a ride you won't want to end!!! Ending this soulful set is the soft and haunting "Lonely Lady" that is a 4 A.M. classic that is very smooth and a lovely ending to a remarkable set that is my personal favorite from this legend...Thank You Mr. Getz for this incredible gift that is from your soul...This is a timeless classic...

. . . what with the master finding himself in a setting with electric piano, various synthesizers, background horn "sweetening," and fusion drummer Jeff Porcaro. But you know what? His res, the shear weight of his presence, lifts what could've been a lightweight, throwaway date into the stratosphere--or at least the upper atmosphere.

When this session was recorded in the early nineties, jazz was going through an awkward phase. It was thought by many that it could not compete with New Age and Fusion music without a little sweetening and compromise. If it stayed true to itself and its roots, it would find itself relegated to the musical backwaters of cultural irrelevance. The subsequent decade and a half have pretty thoroughly laid to rest that notion, but the jazz world at this time found itself littered with attempts to make it relevant.

This is one of those. And one of the more successful efforts. But it's almost entirely because of the enormous presence of Getz, the most significant sax voice of his generation, and one of a handful of giants on his instrument in the history of jazz.

Still, when all is said and done, this is a disc a lot more likely to appeal to fans of the Rippingtons than fans of Joe Lovano. The songs, all except one credited to Eddie del Barrio, Herb Alpert, and Getz himself, seldom rise above pleasant though rather generic-sounding jazz fusion, mostly of a vaguely Brazilian sort. Jobim lite.

On the other hand, it does have Kenny Barron on piano, Oscar Castro Neves on guitar, and Paulinho da Costa on percussion, players of the first rank, who generally lend the proceedings a gravitas not usually associated with smooth jazz, and even occasionally goose Mr. Getz into some impassioned statements.

Throw in some very slick arranging, production, and recording values and you have a disc that nearly swamps the leader in saccharin. But doesn't. Just barely.

Certainly worth owning, as any Getz disc is, if only for its novelty value and to hear the master beat the surrounding fluff into submission. But not essential. If faced with a choice, you're better off with Bossas & Ballads: The Lost Sessions, from around the same period, which IS among Getz's greatest ever discs. Four-and-a-half stars.

This two-CD set includes one of the most historically important jazz LPs in Getz/Gilberto and a very good follow-up in Jazz Samba; the two LPs both include "Desafinado"; other than that, there is no overlap in material.

While Getz/Gilberto is justifiably one of the best-known jazz LPs ever-recorded, I was struck by how ragged it is at times. Astrud Gilberto's singing, in particular, displays a pretty poor sense of rhythm, and neither she nor Joao Gilberto has much of a voice. It surprised me that the musicianship was noticeably better on Jazz Samba.

The real reasons for giving this only four stars, however, are the packaging and the price. There are two CDs here, but there's really only enough material for one. Even with the 45 rpm singles versions of "The Girl From Ipanema", "Corcovado", and "Desafinado", which seem just to be cut and spliced from the LP versions, the music comes in under 75 minutes. The package was issued in Korea, and the notes are nearly entirely in Hangul. There is a reprint of the notes from the original Getz/Gilberto LP, but it is all but illegible.

The price, moreover, is much too high for a reissue of two LPs. Those who want a CD version of only one of the LPs can find one for far less money (and including the 45 rpm singles issues) , and buying separate CD versions of both will run to less money than this package.