Stan Getz

This five-LP box set (which has been reissued on CD) contains nearly all of Stan Getz's classic bossa nova sessions, five wonderful yet diverse LPs (Jazz Samba, Big Band Bossa Nova, Jazz Samba Encore, Stan Getz/Laurindo Almedia, and Getz/Gilberto). The cool-toned tenor is heard on his groundbreaking collaboration with guitarist Charlie Byrd (which resulted in the best-selling "Desafinado"), is showcased with a big band arranged by Gary McFarland (introducing "No More Blues" and "One Note Samba"), stars in recordings with guitarists Laurindo Almeida and Luiz Bonfa, and is heard at the famous meeting with composer/pianist Antonio Carlos Jobim, guitarist João Gilberto, and singer Astrud Gilberto, which resulted in the major hit "The Girl From Ipanema." This essential set finishes off with three previously unissued performances from a 1964 Carnegie Hall Concert, concluding with a remake of "The Girl From Ipanema." These recordings stand as proof that it is possible for good music to sell.

Stan Getz was such a consistent performer and had such a beautiful tone that nearly all of his recordings are well worth getting. The two radio appearances heard on this 1997 CD are even on a higher level than normal. Joined by pianist Kenny Barron, either Ray Drummond or Yashuito Mori on bass, and drummer Ben Riley, Getz is heard at the peak of his powers on a pair of obscurities (Kenny Barron's "Feijada" and Gigi Gryce's "Stan's Blues") and six numbers (including "Voyage," "Blood Count" and "Warm Valley") that he recorded numerous times. To hear Getz adding even more beauty to Mal Waldron's already gorgeous "Soul Eyes" is a memorable experience.

Stan Getz leads a piano-less quartet at the Salle Pleyel in 1966, with veteran drummer Roy Haynes and two talented musicians still in their twenties at the time, bassist Steve Swallow and vibraphonist Gary Burton. The tenor saxophonist's always-lush tone is beautifully complemented by his musicians' sensitive accompaniment, especially on the lovely ballad "When the World Was Young." Burton is doubly showcased by Getz in the vibraphonist's tricky "Singing Song" and also dazzling the audience with his already well-developed four-mallet technique in a show-stopping solo interpretation of Rodgers & Hammerstein's "Edelweiss" (from The Sound of Music). Getz doesn't disappoint his French audience's desire for bossa nova, beginning the set with a smooth rendition of "Manha de Carnaval"…

The music on this LP recalls the airy "Four Brothers" sound that tenor saxophonists Stan Getz, Zoot Sims and Herbie Steward, and baritone saxophonist Serge Charloff, plied in Woody Herman's band of 1947. For this outing, Steward and Charloff exit, and four become five with the addition of tenor luminaries Al Cohn, Brew Moore, and Allen Eager. The set appropriately kicks off with Gerry Mulligan's "Five Brothers," a tune reminiscent of Jimmy Giuffre's original "Four Brothers" in its fluid and bouncy arrangement. Three other attractive and similarly disposed originals (one more by Mulligan and two by Cohn) complete the saxophone session from 1949, all featuring swinging statements by each soloist. A 1952 sextet date led by Sims and Cohn is also included, offering up another round of original and buoyantly swinging cuts, bolstered by lively contributions from trombonist Kai Winding and solid rhythmic support by pianist George Wallington, bassist Percy Heath, and drummer Art Blakey. A fine release that nicely showcases the cool, proto-West Coast bop forged by both these soloists and Miles Davis.

In the vein of many a smooth West Coast jazz outing, this 1958 disc finds original cool stylist Getz paired with vibraphonist Cal Tjader on a very enjoyable selection of jazz standards and Tjader originals. The lineup includes pianist Vince Guaraldi, guitarist Eddie Duran, bassist Scott La Faro, and drummer Billy Higgins (this was one of the earliest record dates for either La Faro or Higgins, both of whom were playing with Getz at San Francisco's Black Hawk in between recording sessions). Guaraldi's spry "Ginza Samba" kicks thing off with nimble and imaginative statements by all the soloists. Tjader's swinging originals "Crow's Nest" and "Big Bear" provide prime solo vehicles as well, while his lovely waltz number "Liz-Anne" adds some nice contrast to the set, eliciting one of Getz's best solos in the process…

In the vein of many a smooth West Coast jazz outing, this 1958 disc finds original cool stylist Getz paired with vibraphonist Cal Tjader on a very enjoyable selection of jazz standards and Tjader originals. The lineup includes pianist Vince Guaraldi, guitarist Eddie Duran, bassist Scott La Faro, and drummer Billy Higgins (this was one of the earliest record dates for either La Faro or Higgins, both of whom were playing with Getz at San Francisco's Black Hawk in between recording sessions). Guaraldi's spry "Ginza Samba" kicks thing off with nimble and imaginative statements by all the soloists…

Stan Getz was invited to perform a concert with a local rhythm section in Warsaw, Poland, in 1960; he was sufficiently impressed with the trio to join them for a brief studio session afterwards. While this five-song set isn't flawless, as Getz has some problems with repeated reed squeaking in the rendition of "Cherokee," the all-standards program is otherwise very enjoyable, with excellent sound. Getz is in total control with the lush take of "Darn That Dream," as he makes a delayed entrance following pianist Andrzej Trzaskowski, who proves himself to be a thoughtful accompanist and soloist. Bassist Roman Dylag and drummer Andrzej Dabrowski also get high marks. This compilation is rounded out with two tracks from a 1974 concert in Warsaw by a working edition of the Stan Getz Quartet, with pianist Albert Dailey, bassist George Mraz, and drummer Billy Hart. The tenor saxophonist again gets a little sloppy with atypical reed squeaks in both tracks, which include an extended, exciting workout of Chick Corea's "La Fiesta" and an old favorite, Jobim's "Desafinado." Getz fans will definitely want to acquire this obscure Polish CD.

German two CD compilation packaged in a digipak with 20 page booklet.
One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard. Getz, whose main early influence was Lester Young, grew to be a major influence himself, and to his credit he never stopped evolving…