The Cool Sound of Stan Getz

On this splendid live recording from Birdland from the spring and summer of 1952 we find Getz in sparkling form. The mixture is typical of his repertoire of that period - bop originals, bebop variations on well-known tunes ('Long Island Sound' is based on 'Zing Went the Strings of my Heart', for instance), and ballads. His sound and general approach seem anything but cool, on joyful romps through the extended up-tempo tracks; moreover between Getz and guitarist Jimmy Raney there existed an excellent rapport, and the two men and their instruments blended well together. It is not surprising therefore that Raney, with his own quiet and unhurried approach, was the longest- serving member of the Stan Getz groups of this period. More than an hour of Stan Getz is always welcome. For it to be a live recording from Birdland is an extra bonus.

AVID Jazz continues with its Four Classic album series with a re-mastered 2CD release and Third Set from Stan Getz, complete with original artwork and liner notes.

These are the first recordings ever released under the name of Stan Getz. Four Savoy sides from July 1946 constitute one hell of a debut as Getz gets off with the expert backing of Hank Jones, Curly Russell, and Max Roach. "Opus de Bop" and "Running Water" are dazzlers, while "And the Angels Swing" and "Don't Worry 'Bout Me" reveal Getz's often-noted Lester Young influence. Six sides cut for Bob Shad's Sittin' in With record label in October 1948 are especially satisfying on account of pianist Al Haig, electric guitarist Jimmy Raney, bassist Clyde Lombardi, and drummer Charles Perry. All six tunes were composed by Getz and demonstrate an obsession with bop formulae. "Frosty," also known as "Flugelbird," was recorded about a month later for Shad's other label, Jax…

This double-disc set features all of the studio performances between saxophonist Stan Getz and guitarist Jimmy Raney recorded between October of 1948 and April of 1953. The sheer number of labels the pair recorded for is staggering, from Sittin' in With to Roost, Savoy, Sesco, Clef, Prestige, and others. And while Getz, particularly on the early sides, is still deeply entrenched in his worship of Charlie Parker, the cool elegance of Raney's own playing is already asserting itself on the early sides, so that by 1951, Getz has moved toward the center from strictly bebop. Some of the other players on these sessions include Duke Jordan, Curly Russell, Blossom Dearie, Horace Silver, Roy Haynes, Frank Isola, and many others. There are 41 performances in all, giving a striking portrait of the era, and of Getz's development as a soloist and bandleader in particular…

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"…

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.

This 20-song compilation documents the early development of tenor Stan Getz from a Lester Young disciple into a unique and compelling voice. The set kicks off with three 1945 recordings from Kai Winding's sextet, when Getz, a mere 18 years old, still seemed to be under Young's spell. The four cuts from July 1946 mark Getz's first session as a leader; on one, he brought in bebop heavies Hank Jones, Curley Russell, and Max Roach. It's clear from his choice of sidemen and the increased fire in his playing that Getz was falling under the influence of Charlie Parker. The collection wends through three cuts featuring Getz with the Woody Herman Orchestra - two uptempos and an exquisite ballad, "Early Autumn," which offers supremely delicate solos from both Herman (on Johnny Hodges-inspired alto) and Getz…