Stan Getz - Stan Getz's Finest Hour
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Music CD Cover
Artist: Stan GetzEdition: Music CD
CD Release Date: 2000-06-13
Music Label: Polygram Records
Soundtracks:
- It Never Entered My Mind
- S-H-I-N-E
- Desafinado
- Early Autumn
- I'm Late, I'm Late
- The Girl From Ipanema
- Manha De Carnaval
- I Didn't Know What Time It Was
- Symptones
- Con Alma
Free Music Notes for Stan Getz's Finest Hour
Free Music Review: gems taken from gems
Hit: 4 Stars
"The Sound", or "Stanley the Steamer" as Stan Getz was known, had a pleasing technique and perfect control of his sax. He was much more popular, that is, sold much more albums than his contemporaries with the possible exception of Miles Davis. He was so popular that many critics of the time, and jealous musicians, dismissed his works as too pop. But behind that apparent ease of play and beautiful, buttered, golden tone is perhaps the greatest sax player of all time, who focused his attention not on innovation or writing but expressive playing. John Coltrane once said, "We'd all play like Getz.. if we could". Beauty, sweetness, tinged with melancholy and sadness, perhaps looking back to better times.
Getz played like he was not playing an instrument but rather as if the sax was an direct extention of his soul. After the drugs, which dogged him much of his life, in his later years he would consciously relax every muscle in his body for a half hour or so and enter a super relaxed yet intensly focused meditative state before he played. So the music would come out smooth and sweet. Infinite control so hard it sounds effortless. And it relaxes us just to listen.
This is a Verve best of taken from some twenty years of albums I love "Early Autumn" a re-do of the song that catapulted a younger Getz to public attention age 20 with Woody Herman's Second Herd. "Symptomes" is the mysterious ballad cut of a otherwise spikey experimental big band album. "Desafinado" and "The Girl form Ipanema" are crossover hits that ignited the Bossa Nova period.
While this is a good introduction to Stan, a survey for the Jazz novice, they are bleeding chunks ripped from other albums, like all best ofs. I can only hope that the listener who hears this marvellous music for the first time will seek out the original albums and hear these pieces where they belong. Most everything by Miles Davis is in print, but everyday more and more spectacular Getz original albums disappear from the market as we descend further into the Musical Dark Ages.
Hear this and if you like it, buy the originals while you still can!
I give this only four stars because many of the original albums these are taken from are better!
Stan Getz's Finest Hour Poster
Stan Getz had one of the most beautiful sounds in jazz history, a light, transparent gauze that mingled high and lows, grit and sweetness. More than just a tone, it was an airy, shifting, living thing that was one with his mercurial improvisations, his sinuous flow of lyrical ideas, and his kinetic, shifting phrases. It was a sound that arrangers loved to work with, and he's matched here with strings and brass, as well as with the small groups that were his typical settings. The ballads here--such as Ralph Burns's "Early Autumn"--are gorgeous, and Getz could bring cool-school lightness to the fastest bop tempos. His sound was an ideal match for the lightly percolating rhythms of bossa nova, with hits like "Desafinado" and "Girl from Ipanema," and it's hard to imagine the Brazilian rhythm's becoming so popular without him. Almost always beautiful, Getz's playing could also be adventurous, as on "I'm Late, I'm Late," with Eddie Sauter's angular, atonal string writing, and "Symptones," from a session with Francy Boland's big band. No hour of music could capture Getz's creative range, but this is an excellent introduction that focuses on some of his stellar moments. --Stuart BroomerJazz Music CDs
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