Stan Getz Albums (98)
'Complete Live at Montreux 1972'
Release Date 8/4/2008
Tracks 9
Label Gambit
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'Communications '72'
Release Date 5/1/2007
Tracks 10
Label Umvd Import
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What The Critics Say
Featuring compositions and arrangements by film composer and jazz buff Michel Legrand, Stan Getz's Communications '72 is one in a long line of strings-and-voices albums the tenor saxophonist recorded. Starting with a Gunther Schuller-arranged session from 1955, Getz produced some impressive work in this context, with the incredible Eddie Sauter collaboration Focus standing out in particular. And even in the midst of some not-so-incredible backing on a few sets, Getz always comes up with impeccable solo statements. For his part, Legrand strikes an expert balance here among jazz combo, strings, and chorus, but the frenetic Swingle Singers-style choral parts don't always come off. While overpowering Getz on the otherwise lovely "Redemption," the vocal interjections sound too overarching in their mix of avant-garde and straightforward phrasing on "Outhouse Blues" and "Bonjour Tristesse." Legrand succeeds elsewhere, though, especially on "Nursery Rhymes for All God's Children" and "Flight." And whether the frequent choral parts on Communications '72 become annoying really comes down to preference, since most of them are tastefully, even provocatively written. As usual, Getz makes it all shine with his golden tone and beguiling solo lines. A good title, but primarily recommended for Getz fans. [The 2003 Japanese reissue of the album does not contain extra material, but it does have dramatically improved sound, being remastered at 24 bit, and features an exact, mini replica of the original cover in heavy gatefold cardboard with a rice paper sleeve to house the disc.] ~ Stephen Cook, All Music Guide
What The Critics Say
Producer Norman Granz (1918-2001) had an uncanny ability to create really amazing jazz albums by experimenting with the combinative chemistry of musical minds, temperaments, and personalities. While not every Granz session resulted in recordings of equal depth or profundity, the number of artistically rewarding, genre-defining albums that came together under his supervision is almost difficult for the human mind to fully comprehend. One fine example is Jazz Giants '58, a Verve album recorded inside the rented Capitol studios in Hollywood, CA on August 1, 1957 and released almost exactly one year later. The 2008 Japanese CD reissue faithfully reproduces the original cover art and makes this outstanding music available in immaculately remastered sound. Although it has since come to be identified mainly with Stan Getz, Jazz Giants '58 feels a lot like a Gerry Mulligan session, with Harry "Sweets" Edison perfectly complementing the other two horns. To support and illuminate the trumpet, tenor, and baritone saxes, Granz used his preferred rhythm trio -- Oscar Peterson, Herb Ellis, and Ray Brown -- and added master percussionist Louie Bellson, fully primed after working for his wife Pearl Bailey, his hero Duke Ellington, and with Granz's internationally famous Jazz at the Philharmonic project. This was the blossoming of the great era of long-playing records, and the participants clearly relished the opportunity to stretch out and jam together in a relaxed, intimate studio environment. "Chocolate Sundae," a ten-minute collectively improvised blues of incredible warmth and irresistible texture, is followed by seven- and eight-minute sets of creative variations on a couple of tunes that were in the air during the '50s. The nearly 12-minute manifestation of the patented Norman Granz "Ballad Medley" is especially powerful by virtue of starting out with Billy Strayhorn's "Lush Life." An extended romp through the changes of Dizzy Gillespie's "Woody N You" (a tribute to the progressive sensibilities of bandleader Woody Herman penned during the 1940s) adds pure undiluted pleasure to an album that already sounds and feels like some of the best music ever recorded by any of the participants under any circumstances. ~ arwulf arwulf, All Music Guide
What The Critics Say
This excellent LP finds Stan Getz, who had just recovered from a serious illness, in fine form playing standards with a Swedish rhythm section that includes the talented pianist Bengt Hallberg. One of the lesser-known Getz dates, the great tenor (who was 30 at the time) clearly inspired the quietly swinging rhythm section. ~ Scott Yanow, All Music Guide
'At the Opera House'
Release Date 5/26/2003
Tracks 10
Label Universal
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'Stan Getz & Bill Evans'
Release Date 4/28/2003
Tracks 11
Label Universal
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What The Critics Say
The only studio meeting between Stan Getz and Bill Evans took place over two days in 1964, with the aggressive drummer Elvin Jones and either Richard Davis or Ron Carter on bass. It is peculiar that Verve shelved the results for over a decade before issuing any of the music, though it may have been felt that Getz and Evans hadn't had enough time to achieve the desired chemistry, though there are memorable moments. The punchy take of "My Heart Stood Still," the elegant interpretation of "Grandfather's Waltz," and the lush setting of the show tune "Melinda" all came from the first day's session, with Davis on bass. Evidently he was unavailable the following day, so Carter replaced him. Evans' driving, challenging "Funkallero" is the obvious highlight from day two, though the gorgeous "But Beautiful" and the breezy setting of "Night and Day" are also enjoyable. Only the brief version of "Carpetbagger's Theme," which seems badly out of place and suggestive of the label's interference with the session, is a bit of a disappointment. Obviously neither Getz nor Evans liked the tune, as they go through the motions in a very brief performance. This reissue, which came out in the late '80s, adds three unissued alternate takes, though additional material from the sessions was included in the box set The Complete Bill Evans on Verve. ~ Ken Dryden, All Music Guide
What The Critics Say
Portions of at least two radio broadcasts are heard on this Stan Getz LP compilation. These 1952 performances from Birdland are relatively free of audience noise, though the fidelity of the rhythm section is uneven. In any case, fans of the cool-toned tenor saxophonist will enjoy these selections, though the packaging of this bootleg is sloppy, misidentifying two songs and failing to mention the presence of pianist Duke Jordan, guitarist Jimmy Raney, bassist Gene Ramey, and drummer Phil Brown. Getz is in top form as he romps through "Woody 'n You" and "Move" (mislabeled "Moo") and inserts some wild runs into an otherwise laid-back interpretation of "Yesterdays." Raney gets in a few good solos of his own, while the rest of the rhythm section pretty much takes a backseat. The fidelity initially takes a nosedive at the beginning of the incomplete rendition of "I'll Remember April," but things quickly improve. The closing track was recorded on the second of the two Birdland programs in which the tenor saxophonist is featured, but neither Getz nor any of his musicians are present for this number. It actually showcases trombonist Bill Harris with the obscure tenor saxophonist Harry Johnson (who sounds nothing like Getz), with a rhythm section consisting of pianist Sonny Truitt, bassist Chubby Jackson, and drummer Morey Feld. ~ Ken Dryden, All Music Guide
'Jazz at Storyville'
Release Date 4/16/2002
Tracks 14
Label Japanese Import
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'Jazz in Paris: Stan Getz Quartet in Paris'
Release Date 4/2/2002
Tracks 7
Label Polygram International
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What The Critics Say
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," but his memorable performance of "On Green Dolphin Street" and a hard-charging arrangement of Frank Loesser's "The Knight Rides Again" (both of which feature Haynes to good measure) leave the most lasting impressions of his abilities at this point in his long career. Finally reissued on CD in Verve's excellent Jazz in Paris series in 2002, this disc should be purchased without delay. ~ Ken Dryden, All Music Guide
