STAN GETZ QUARTET at Large: The Complete Sessions
Plus nine bonus tracks
Essential Jazz Classics EJC55651
CD One
Stan Getz ( tnr ) Jan Johansson ( pno ) Dan Jordan ( bass ) William Schiopffe ( drs )
Recorded Copenhagen, Denmark, 14th & 15th January 1960
CD Two
Tracks 1 to 5
Personnel & recording location as CD One
Tracks 6 to 8
Stan Getz ( tnr ) Jan Johansson ( pno ) George Riedel ( bass ) Joe Harris ( drs )
Recorded Solliden, Skansen, Stockholm, 6th July 1959
Tracks 9 to 10
Stan Getz ( tnr ) Jan Johansson ( pno ) Ray Brown ( bass ) Ed Thigpen ( drs )
Recorded Stockholm Concert Hall, 22nd March 1960
Tracks 11 to 14
Stan Getz ( tnr ) Jan Johansson ( pno ) Sture Nordin ( bass ) Joe Harris ( drs )
Recorded SR-Studio Broadcast, Stockholm, 1st May 1960
The two and a half year period between the late Fifties to the the early Sixties was a period of calm for Stan Getz, he had a settled family life and a chance to musically regroup after the continual need to prove himself on the competitive scene in the States. His sojourn in Denmark saw him able to relax and this showed his playing although his standard was still high it was much more relaxed and free flowing.
This period came after his early quartets ad quintets with guitarists Johnny Smith and Jimmy Raney and before his financially rewarding Bossa Nova recordings.
To come was his foray into more modern areas with recordings such as “Captain Marvel” and “Billy Highstreet Samba” before his return to the classic quartet formation with recordings of well known standards on the recordings “Pure Getz” and “The Dolphin”.
Although rhythm sections in Scandinavia were not up to American standards Jan Johansson is more than a competent pianist and the bas player and drummer are good timekeepers although they do not stimulate Getz as classier players would, although on this form he has all the stimulation he needs.
The album gets off to a cracking start with a ten minute version of “Night and Day” and finds Getz taking no prisoners with a solo as good as anything he has produced in his long career.
On the face of it the number “I like to recognise the tune” is not ideal material for a jazz performance but Getz gives it a shot in the arm with an interesting reading of the tune with some vocal encouragement from the rhythm team.
Oscar Pittsford’s “Café Montmartre Blues” has a laid back feel with Getz building his solo to a satisfactory conclusion. “A New Town is a Blue Town" finds Getz at his romantic best with a tender rendition of the song.
The little heard verse of “The Folks Who Live on the Hill” gives this version of the tune a lift with Getz giving it a tender touch.
The second CD opens with a stunning “He Was Too Good to Me” which brings out the best in the Getz ballad skills. ”Younger than Springtime” is taken at a brisk tempo and it works surprisingly well with the group contributing to a fine performance.
bonus tracks have been issued before in various guises but it is good to have them all collected together in one place. The live performances are much better recorded than the tracks taken from a radio broadcast but all contain some worthwhile Getz performances with (Stairway to the Stars” being the standout track.
I would recommend this release to anybody who enjoys classic tenor saxophone played by a master of the instrument.
Reviewed by Roy Booth
Plus nine bonus tracks
Essential Jazz Classics EJC55651
CD One
Stan Getz ( tnr ) Jan Johansson ( pno ) Dan Jordan ( bass ) William Schiopffe ( drs )
Recorded Copenhagen, Denmark, 14th & 15th January 1960
CD Two
Tracks 1 to 5
Personnel & recording location as CD One
Tracks 6 to 8
Stan Getz ( tnr ) Jan Johansson ( pno ) George Riedel ( bass ) Joe Harris ( drs )
Recorded Solliden, Skansen, Stockholm, 6th July 1959
Tracks 9 to 10
Stan Getz ( tnr ) Jan Johansson ( pno ) Ray Brown ( bass ) Ed Thigpen ( drs )
Recorded Stockholm Concert Hall, 22nd March 1960
Tracks 11 to 14
Stan Getz ( tnr ) Jan Johansson ( pno ) Sture Nordin ( bass ) Joe Harris ( drs )
Recorded SR-Studio Broadcast, Stockholm, 1st May 1960
The two and a half year period between the late Fifties to the the early Sixties was a period of calm for Stan Getz, he had a settled family life and a chance to musically regroup after the continual need to prove himself on the competitive scene in the States. His sojourn in Denmark saw him able to relax and this showed his playing although his standard was still high it was much more relaxed and free flowing.
This period came after his early quartets ad quintets with guitarists Johnny Smith and Jimmy Raney and before his financially rewarding Bossa Nova recordings.
To come was his foray into more modern areas with recordings such as “Captain Marvel” and “Billy Highstreet Samba” before his return to the classic quartet formation with recordings of well known standards on the recordings “Pure Getz” and “The Dolphin”.
Although rhythm sections in Scandinavia were not up to American standards Jan Johansson is more than a competent pianist and the bas player and drummer are good timekeepers although they do not stimulate Getz as classier players would, although on this form he has all the stimulation he needs.
The album gets off to a cracking start with a ten minute version of “Night and Day” and finds Getz taking no prisoners with a solo as good as anything he has produced in his long career.
On the face of it the number “I like to recognise the tune” is not ideal material for a jazz performance but Getz gives it a shot in the arm with an interesting reading of the tune with some vocal encouragement from the rhythm team.
Oscar Pittsford’s “Café Montmartre Blues” has a laid back feel with Getz building his solo to a satisfactory conclusion. “A New Town is a Blue Town" finds Getz at his romantic best with a tender rendition of the song.
The little heard verse of “The Folks Who Live on the Hill” gives this version of the tune a lift with Getz giving it a tender touch.
The second CD opens with a stunning “He Was Too Good to Me” which brings out the best in the Getz ballad skills. ”Younger than Springtime” is taken at a brisk tempo and it works surprisingly well with the group contributing to a fine performance.
bonus tracks have been issued before in various guises but it is good to have them all collected together in one place. The live performances are much better recorded than the tracks taken from a radio broadcast but all contain some worthwhile Getz performances with (Stairway to the Stars” being the standout track.
I would recommend this release to anybody who enjoys classic tenor saxophone played by a master of the instrument.
Reviewed by Roy Booth
