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Jazz Articles about Stan Getz

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Building a Jazz Library

Creed Taylor Productions, Part 2

Read "Creed Taylor Productions, Part 2" reviewed by Chris M. Slawecki


Part 1 | Part 2 The place in jazz history held by Creed Taylor is impeccable, stylish, and essential. He produced some of the best music for some of the best labels dedicated to jazz, then formed his own label and with meticulous preparation and his musician's ear kept on making great jazz records. Taylor began as a producer for Bethlehem Records, where his work with Charles Mingus stands among the label's best. In 1960, ...

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Radio & Podcasts

Saxophonists, Classic and Contemporary

Read "Saxophonists, Classic and Contemporary" reviewed by Jerome Wilson


This show features a wide variety of saxophonists, both as soloists and bandleaders. It includes iconic players like Stan Getz and Roscoe Mitchell as well as today's stars with Melissa Aldana and Miguel Zenon. Playlist Henry Threadgill Sextett “I Can't Wait Till I Get Home" from The Complete Novus & Columbia Recordings of Henry Threadgill & Air (Mosaic) 00:00 Art Pepper “Blues In" from Modern Art (Blue Note) 1:00 Lee Konitz “I'll Remember April" from Seven Classic Albums ...

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Radio & Podcasts

Jazz and Bossa Nova - Gilberto, Jobim, Bonfa, Getz (1958 - 1963)

Read "Jazz and Bossa Nova - Gilberto, Jobim, Bonfa, Getz (1958 - 1963)" reviewed by Russell Perry


Fueled by the 1959 international release of the movie “Black Orpheus" and through reports from US jazz players returning from South American tours, the Brazilian music bossa nova (Portugese for “new trend" or “new wave") found its way into American jazz in the early 1960s, becoming a permanent part of the jazz fusion. Stan Getz, in particular, appreciated bossa nova as the interaction between cool jazz and samba and collaborated successfully with many of the pioneers of the new music, ...

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Album Review

Stan Getz: Getz At The Gate

Read "Getz At The Gate" reviewed by Chris May


Connoisseurs of Stan Getz continue to get lucky with newly discovered live recordings. The last was Moments In Time (Resonance, 2016), a single CD documenting parts of a week-long residency with a quartet including pianist JoAnne Brackeen in San Francisco in 1976. Getz At The Gate, recorded fifteen years earlier, is another substantial addition to Getz's catalogue. Over two CDs, or three LPs if you prefer, it includes all 139 minutes which Getz's band performed at New York's ...

3

Radio & Podcasts

Cool - Four Brothers After Woody Herman (1946 - 1961)

Read "Cool - Four Brothers After Woody Herman  (1946 - 1961)" reviewed by Russell Perry


Bandleader Woody Herman created a distinctive sound around The Four Brothers -the three tenor plus baritone sax front line of Stan Getz, Zoot Sims, Herbie Stewart (later Al Cohn) and Serge Chaloff--and the writing of clarinetist Jimmy Giuffre. In time, Getz, Sims, Chaloff, Cohn and Giuffre would all become distinctive soloists and all had a role in defining West Coast Jazz in the 1950s. Playlist Host Intro 0:00 Stan Getz Quartet. “Opus De Bop" from Bebop Story: Vol. ...

11

Getting Into Jazz

Stan Getz And The Oscar Peterson Trio

Read "Stan Getz And The Oscar Peterson Trio" reviewed by Mark Barnett


Getting Started If you're new to jazz, go to our Getting Into Jazz primer for some hints on how to listen. CD Capsule Saxophonist Stan Getz shines in this disc, recorded early in his career with top-flight musicians who created a perfect setting for his skills and sensitivity. Give him an “A" in “Plays well with others." Background Like Zoot Sims (see If I'm Lucky in this “Getting Into Jazz" ...

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Building a Jazz Library

Stan Getz

Read "Stan Getz" reviewed by Mark Barnett


The story of Stan Getz (1927-1991) has to begin with Lester Young. Before Young, tenor sax players seemed awash in testosterone. Their sound was full, rich, deep, blown hard out of the instrument's lower registers, with emotion pouring out in lavish swoops and honks. Then along came Lester. In the post-war 1940s, he invented a new way to play the tenor sax: softly, effortlessly, with no wasted notes, and above all, without drama. There was emotion, of course, but it ...


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