Stan Getz Music

A romantic blend of Bossa Nova, easy listening and smooth Jazz.

Best for candle-lit late night when you want to create beautiful mood and have a good time with your love one.

His music doesn't really sound like it's from the 60's. It's literally timeless.

Even when you're alone, slipping in a couch and holding a book, it makes a perfect companion.

I believe the 'Getz Effect' can be a useful tool for us to relax and get our minds back to the bright and peaceful state.

If you can't make it while listening to this take of Corcovado, give up.

In a breathe; you know when you first get a CD, you play it over and over and over for about two or three weeks, then you put it away-Only to pull it out from time to time. I just can't; for the life of me, seem to be able to put this beguiling CD away. I am truly affixed by the intrinsic state I provisionally inherit each and every time I garner my surroundings with the music from this CD. I am literally tethered to the splendor of this CD and all that it entails. Simply stated: If you're looking to settle down after a tough day at the office; than "Getz For Lovers" is exactly what' required-Chardonnay is optional.

In my opinion "Getz For Lovers" is nothing less than a "Magnum Opus".

SINCERELY:

James Whitaker

[...]

This was my first Stan Getz CD. I now own over 60. If the opening measure to the first cut, Moonlight in Vermont, does not sweep you away, nothing will. Pure tonal brilliance.

Para Machuchar Meu Coração, O Grande Amor, Corcovado, Girl from Ipanema, Moonlight in Vermont, Here's that Rainy Day, all of which are spendid. No tenor sax player could make a couple feel good like Stan Getz. This is the album to impress old and young for a romantic evening. Stan and Tony Jobim, we miss you.

Upon hearing the original vinyl pressing, I wanted to have a copy to put my SACD player to use. I was very disappointed in the mastering of this SACD. THe recording levels were much too high, and there was no dynamic range to speak of. There were even times that I could notice distortion. THis was regardless of volume level or between the high end sony and toshiba players.

Go out and get the original vinyl, and made sure verve records didn't produce it.

THIS IS THE BEST SELLING BOSSA NOVA ALBUM OF ALL TIME. STAN GETZ JOAO GILBERTO, TWO MASTERS AT THE TOP OF THEIR GAME, SOME VOCALS BY ASTRUD GILBERTO, WHAT MORE COULD YOU WANT IF YOU WANT TO HEAR BOSSA NOVA? EVERY SONG IS GREAT YOU WILL FEEL A LOT MORE RELAXED AFTER YOU LISTEN TO THIS MUSIC. ESSENTIAL TO ANY ALL-AROUND MUSIC COLLECTION, A SEMINAL RECORDING.

Nothing more to say but that the Gets-Gilberto duet is irrepetible. Try to get the volume I as well. It's a jewel....

It's hard to beat the gritty-rich presence in the quality of these early pop & jazz 4 track recordings. This is a wonderfully high quality quality recording available in the wonderful format of SACD. Even though it is stereo mix only, I love play this SACD version of this album.

This is not only a pillar of Brazilian/American Jazz fusion, it a pillar of all great music in general. Play this for a romatic date & you will both be getting lucky that night guaranteed. So sensual, mesmorizing, just a flat out stunning piece of work.

Getz and Mulligan were obvious heavyweight jazz musicians, but this recording falls way short of other efforts during this period in their careers. Although switching horns may have brought some interest to the session, the results are not positive, and in the end just a bad idea. Mulligan's tone on tenor is particularly strident and his intonation is poor, and after hearing Getz's sweat tone and precise technique on tenor, Mulligan just sounds lousy on tenor, especially in the upper range of the horn. Getz pulls the horn switch off more convincingly and plays the Bari with some authority and retains his voice, but the question in the end is why? There are some nice moments and obvious skilled improvisation and technical prowess on this recording, but the recording is not a high point.

I was delighted to read that this recording had been made, from the cover notes on "Gerry Mulligan Meets Ben Webster". Then,when listening to it I found that they complemeted each other's playing perfectly. The icing on the cake was to be told in the cover notes that they had swapped instruments for the first 3 tracks and listening again to hear the characteristics of each one's style on unfamiliar instruments. This is one of my favourite recordings.

Stan the Man, the greastest sax player of all time should have made a number of albums with Jeru - the best baritone of all time (since his better playing mentor Serge Chaloff died off young). Both were Cool both West Coast Jazz. The owner of Verve put them together. But there is only this one.

In order to fool the listener, they switch instuments at one point! Getz plays baritone and Mulligan plays tenor. They should have made great music togehter but the results are adequate but don't live up to what each of the Cool Jazz greats did on other albums where they were out front. The Getz and Bill Evans albums are also pretty mediocre. Maybe too many egos?

The best series of duet albums Getz did (other than piano with Al Haig or Kenny Barrons) was with Bob Brookmeyer on valve trombone.

Why this one is adequate but not great (as is stated elsewhere), it's hard to say.

Very together work.. fantastic counterpoint..they play like one instrument

"Getz Meets Mulligan" was my favorite jazz album when I was 16, and it remains my favorite as I approach 60.

That about covers it, so far as I'm concerned.

Ghs

Yes! Yes! Yes! This is absolutely the best you could hope for. Buy this album now or regret it later. In fact, buy it for your best friends who are jazz addicts, make them owe you a debt they can't repay.

While not the best collaboration from Norman Granz' 1950's pairings of giants from his Verve label stable (see Gerry Mulligan meets Ben Webster for that honor), this one shouldn't be overlooked and presents yet another chapter in both Mulligan's and Getz' storied careers. Cut in 1957 this session features the "two brothers" (well, OK maybe not....) dueling over 6 tunes from the original LP plus two bonus tracks. The session swings and the first class rhythm section of Levy, Levey and Brown keeps things fluid, but there's not a whole lot of chemistry between the two saxists. They more or lesst go through the motions buy hey, for these two "the motions" are still superb. Not the best, but well worth the price of admission.

Two of the best cool jazz men working together with more chemistry than the sum of the periodic table. Great tunes and absulutely masterful improvisational efforts with theme and variations, counterpoint and more cool than an arctic meat locker. The guys trade horns midway through the recording, and their innate musical brilliance and versatility defy description. On my deserted island must have short list.