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Stan Getz

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.

Getz had the opportunity to play in a variety of major swing big bands while a teenager due to the World War II draft. He was with Jack Teagarden (1943) when he was just 16, followed by stints with Stan Kenton (1944-1945), Jimmy Dorsey (1945), and Benny Goodman (1945-1946); he soloed on a few records with Goodman. Getz, who had his recording debut as a leader in July 1946 with four titles, became famous during his period with Woody Herman's Second Herd (1947-1949), soloing (along with Zoot Sims, Herbie Steward, and Serge Chaloff) on the original version of "Four Brothers" and having his sound well-featured on the ballad "Early Autumn." After leaving Herman, Getz was (with the exception of some tours with Jazz at the Philharmonic) a leader for the rest of his life.

During the early '50s, Getz broke away from the Lester Young style to form his own musical identity and he was soon among the most popular of all jazzmen. He discovered Horace Silver in 1950 and used him in his quartet for several months. After touring Sweden in 1951, he formed an exciting quintet that co-featured guitarist Jimmy Raney; their interplay on uptempo tunes and tonal blend on ballads were quite memorable. Getz's playing helped Johnny Smith have a hit in "Moonlight in Vermont"; during 1953-1954, Bob Brookmeyer made his group a quintet and, despite some drug problems during the decade, Getz was a constant poll winner. After spending 1958-1960 in Europe, the tenorman returned to the U.S. and recorded his personal favorite album, Focus, with arranger Eddie Sauter's Orchestra. Then, in February 1962, Getz helped usher in the bossa nova era by recording Jazz Samba with Charlie Byrd; their rendition of "Desafinado" was a big hit. During the next year, Getz made bossa nova-flavored albums with Gary McFarland's big band, Luiz Bonfá, and Laurindo Almeida, but it was Getz/Gilberto (a collaboration with Antonio Carlos Jobim and João Gilberto) that was his biggest seller, thanks in large part to "The Girl from Ipanema" (featuring the vocals of Astrud and João Gilberto).

Getz could have spent the next decade sticking to bossa nova, but instead he de-emphasized the music and chose to play more challenging jazz. His regular group during this era was a piano-less quartet with vibraphonist Gary Burton, he recorded with Bill Evans (1964), played throughout the 1965 Eddie Sauter soundtrack for Mickey One, and made the classic album Sweet Rain (1967) with Chick Corea. Although not all of Getz's recordings from the 1966-1980 period are essential, he proved that he was not afraid to take chances. Dynasty with organist Eddie Louiss (1971), Captain Marvel with Chick Corea (1972), and The Peacocks with Jimmy Rowles (1975) are high points. After utilizing pianist Joanne Brackeen in his 1977 quartet, Getz explored some aspects of fusion with his next unit which featured keyboardist Andy Laverne. Getz even used an Echoplex on a couple of songs but, despite some misfires, most of his dates with this unit are worthwhile. However, purists were relieved when he signed with Concord in 1981 and started using a purely acoustic backup trio on most dates. Getz's sidemen in later years included pianists Lou Levy, Mitchell Forman, Jim McNeely, and Kenny Barron. His final recording, 1991's People Time, (despite some shortness in the tenor's breath) is a brilliant duet set with Barron.

Throughout his career Getz recorded as a leader for Savoy, Spotlite, Prestige, Roost, Verve, MGM, Victor, Columbia, SteepleChase, Concord, Sonet, Black Hawk, A&M, and EmArcy among other labels (not to mention sessions with Lionel Hampton, Dizzy Gillespie, and Gerry Mulligan) and there are dozens of worthy records by the tenor currently available on CD. ~ Scott Yanow, Rovi
full bio

Selected Discography

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Track List: The Smoothest Operator

Disc 1
Disc 2
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Disc 4
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Track List: Sweet Rain

Comments

Smooth, easy listening.
Timeless.... . . . . . . . . . . .
One of the best.. Love it.
Stan Getz played with Jimmy Dorsey and Benny Goodman! I have been listening to him for years. This is what my dad played at home on the hifi:)
Stan Getz ,meraviglios o davvero !
Love everything Brazilian... Just creates the right mood... Right atmosphere.. . . Aahhhh
STAN GETZ'S SAMBA / BOSSA NOVA flow is HYPNOTIQUE ��������
tambakanko20 0 4
Divine!
VERY VERY NICE AND GENTLE LISTENING
can't get any smoother
fantastic
Love this TIMELESS!
philliphowar d 1
I started at an early age listening to JAZZ, thanks to my Mom. She would play it Sunday morning while my sister and I were at church, we would come home, she would be cooking breakfast and the RADIO would be playing it and I would always ask her about The Girl From Ipanema when I would hear it. The thing about it is that I wasn't even 10 yet
This is one of my favorites. Incredibly beautiful... . . . .
...Lets dance, such cadence...so romantic!
Great smooth Tenor Sax. His sound was the best.
John
johncawthorn e 9 6 1
Great!
Timeless...a s welcome as a cool breeze on a warm summer day...
Love it, love it, love it!!!
Awsome!
silky smooth and oh so easy to swallow
Thats is nice on the ears
I was privileged to first hear Stan Getz at the 1962 Monterey Jazz Festival as he played along side Charlie Byrd. They introduced Jazz Samba that year and it was for sale outside the arena for a whopping $5.00. My wife had a fit that I gave that much for an LP. But I knew that it would be a classic and I just had to have it.
hans.ingemar . j o h a n s s o n
cool to the utmost
Love Stan Getz!
like it
Waleed Yacoub like stan getz
Whoooooooooa . . . . . . . . . . . . . . : - D =-O :-D =-O :-D
The most amazing part of the music is how well Getz wove his sound into and around the intricate rhythms that are the Bossa Nova sound.
Lost sessions beautiful album...many thanks...
@joseph_nowa k 0 - agreed.
So beautiful..c o u l d listen all night...
Great Jazz artists ALL !!! Great to listen to while reading or working!!!
shumanlab
I was privileged to see/hear Getz and Mulligan in 50's - 60's. No one like them since!
shumanlab
Yes!!!
Genius.
This is why Stan Getz was called The Sound!
last time I saw stan,milwauk e e / d a m e n , c h i c a g o w/ a friend victor parras
838902386
That's. What. It is. Triste.
rserva
I wish someone rovi, etc. would include the contribution s of Keter Betts in the otherwise well documented Getz/Bossano v a story. Keter Betts' influence was seminal to Getz's....
randallmckay
Yeah...cool. . .
matscom
Stan is the man....I loved the cat's music from my days in the Navy School of Music in 1956...
dave5962
How wonderful to have Stan Getz to listen to. I'm so tired of listening to jazz musicians make a name for themselves when all they're doing in an improvised solo is running and down the scales. They have nothing to say. Someone like Stan Getz is a what all good jazz improvisers are -- a composer, composing on the fly, on his feet, tenor sax wailing. That's rare, on any instrument.
yummy!
stamm_mike
Stan Getz set the standard for all tenor saxophonists to this very day. He is not playing the instrument as much as simply breathing through it. That's the only way that I can describe it.
Getz never ceases to amaze me. The purity of his tone, the excellence of his phrasing, the subtlety of his note selection, and the beautiful execution. I find his music so soothing and relaxing though he could blow as hard as he wanted to. I never get tired of listening to the man.
Focus give it a try. I think it was oneof his best pure jazz record.
jcreamer1447
Message cont'd:
My love of '50's Modern Jazz came from another Gulf Coast friend, John Cirlot, later my Best Man, who collected Stan Kenton, Dave Brubeck, Stan Getz, Eddie Safranski, Miles Davis, The Four Fresmen, Charlie Byrd, Art Tatum....you name-em. Long nights in creating ads, broadcast
and public relations campaigns were inspired by old 331/3 jazz.
Music
comes from hard and good times - human vagaries, wron influences at times. A diminishing audience needs replenishing through eeforts li
jcreamer1447
lean times...one meal-a-day 49-53 years at Auburn University had one bright spot encouraging a creative direction in advertising, P.R. broadcast print and the arts. My roomate, Jack Dresher, was a trombnist with full
scholarship, playing with the AuburnKnight s , a premier college band playing
to this day. He introduced me to '50's Modern Jazz. A Mississippi Gulf
Coast native, Jck retired o Auburn and has a jazz trio, playing bass with two longtime buddies monthly at Auburn's popular hotel. The b
get mo Getz
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