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"The Century-Spanning Art of Stan Getz"

Rebecca*rhapsodyinblue* | CA USA | 03/31/2010

(5 out of 5 stars)

""Times change. But the appeal of the Bossa Nova hasn't; neither have Jobim's voluptuous melodies, the Gilbertos' warm and airy voicings, or the century-spanning art of Stan Getz." ~ Neil Tesser ~



"The songs of João Gilberto and Antonio Carlos Jobim came to America like a breath of fresh air. Their music arrived here when anemia and confusion were becoming noticeable in our music to anyone who knew enough to be concerned. The desperate craze for innovation had been overextending itself." ~ Stan Getz ~



Stan Getz (1927-1991), a Grammy award winning saxophonist, had already established himself in classic, cool jazz when he ventured into Brazilian jazz. He was very much a part of the Bossa Nova culture and one of the pioneering spirits behind the popularity of this music genre. Having worked as a sideman with big names in jazz such as Jack Teagarden, Stan Kenton, Benny Goodman, Jimmy Dorsey and Woody Herman; and having performed with jazz superstars as Oscar Peterson, Charlie Parker, Zoot Sims, Chet Baker, Chick Corea and Sarah Vaughan, to mention but a few, Stan Getz had penetrated the elite circle of jazz musicians and singers.



In the early Sixties, Getz was playing a different tune as a result of his collaborations with Bossa Nova icons--the likes of Antonio Carlos Jobim, João Gilberto, Astrud Gilberto, Luis Bonfá, Laurindo Almeida, Charlie Byrd, and many others.



"Stan Getz Plays Jobim: The Girl From Ipanema" is a collection of Antonio Carlos Jobim's original compositions that Getz recorded for Verve Records from 1962 through 1964. I was listening to this recording last night for the umpteenth time and savored its beauty anew. It's always a pleasure listening to the incredible artistry of Getz as he interprets the fascinating music of Jobim. He made his sweeping saxophone wail, weep, or jump with joy. Jazz critic/writer Bob Blumenthal once said that it was "Stan Getz's sound and sensibility that turned bossa nova into a phenomenon in the US at a time when jazz was growing more exploratory and pop music was awaiting Motown and the British Invasion." How can one disagree with him when it's a point well-taken?



Award winning music writer and regular contributor to Jazz Times, Doug Ramsey, once commented: "In 1963 Getz entered his bossa nova phase, which took his music and name into households in which jazz had never before been a presence."



Another credible jazz writer from Down Beat, Don Gold, also accurately evaluated Getz's artistry as "infinite taste, richly flowing conception, and warm feeling." He further added that Getz "can create moving ballad forms or exciting up-tempo patterns, characterized in both cases by long, lovely phrases."



Listen closely to his solo in "How Insensitive" ("Insensatez"). Isn't it captivating? Maria Toledo's pretty as calla lily voice charmingly complements Getz's masterful playing on tenor sax. This Jobim-arranged-track is a true beauty in the real sense of the word. They are backed by Luis Bonfá (guitar), Antonio Carlos Jobim (piano, guitar), Tommy Williams (bass), Jose Carlos (percussion/drums) and Paulo Ferreira (drums).



João Gilberto, a pioneer of the bossa nova movement himself, sings in Portuguese one of the very best vocal interpretations of "Desafinado," which spotlights Getz's crisp as rhododendron leaves style of playing. The instrumental rendition of this remarkable and widely-recorded tune had earned Getz a Grammy for Best Jazz Performance in 1963.



In conclusion, this is a flawless compilation of Jobim's music recorded at its very best. It really represents the best of Stan Getz whose performances are par-excellence. He was an ace of a saxophonist. There's no doubt in my mind that he was one of the finest saxophonists who ever lived in the world of jazz."