Moderate wear to unmarked book which bears minimal library markings. Overall a quality copy of this rare biography of one of the best musicians in history. First Edition. Very Good. Neuware - 88 pp. Fine in an unprinted paper sleeve in a near fine pictorial cardboard sleeve with a hole punch through the top corner and rubbing. Recorded September 7, ; Los Angeles, California.
Jede Lieferung m. Rechnung und ausgew. Bestellungen aus dem Ausland nur gegen Vorkasse. Photographs in black and white. Ernsr Reinhard. Gesamtpreis 1 Artikel Artikel : Versandziel:. Zum Warenkorb. Warenkorb einsehen. Weiter einkaufen. Rich, Buddy : Buddy Rich. Versand: EUR 3, Versand: Gratis. Versand: EUR 2, Versand: EUR 6, Anbieter ABC Versand e. Versand: EUR 12, Meriwether Jr. The original drum battle!. Rich Lackowski Drum Masterclass, m. The Drum Wonder. The Life of Buddy Rich. Versand: EUR 7, Dieser Anbieter akzeptiert die folgenden Zahlungsarten: Kreditkarte.
Versand: EUR 36, Versand: EUR 21, Ammersee, Deutschland. I was listening to his album with Dizzy Gillespie and the last tune 05 Dark Eyes stopped at the mark.
That caught me by surprise, because the album really flies. I redownloaded the rar file but it resulted in the same size. Then I checked the time listed on the back of the album cover and it shows Could you please look into the problem and possibly re-up? Once again, I thank you for all your work on building this incredible blog.
Would you repost without bug, please? Hi, many many many thanks for Herb Ellis track. Perfect job. Able to repost it? Greetings, Thank you for this collection! The link to the replacement file: Stan Getz 05 - Dark Eyes is dead. Again, thanks. If you are a fan of jazz guitar from all times, maybe you already own this wonderful book : The history of guitar in jazz Norman Mongan Included, a long discography hundreds of records.
I have collected some of these records during the last 20 years. Depuis 20 ans, je rassemble quelques-uns de ces disques. Many thanks what a great selection of gems, some are are just out right outstanding. Super nice blog my friend I never thought I could find one or two of albums you offered,so for that Bravo 5 stars renagademusic yahoo. Accepting you have the cash in your record on the settled upon day, the payday credit organization will store the check you composed and all is said and done.
Payday credit terms are generally straightforward. Regularly, banks have concealed expenses that show up out of the blue. This doesn't occur for this situation. Post a Comment. That's what I really love about jazz. Recorded on April 8, and September 8, The remaining 4 tracks feature Stan and Al Cohn, working in a session with Geroge Wallington and Kai Winding -- on some nice light boppish tracks that have that sweet smooth Getz tone firmly in place.
The small combo playing behind her is simplicity and utility at its finest. The intimate supper club sound I love the introduction. The slurring, just behind the beat vocals and this is latter day Billie, so what you get are the seasoned, almost world -weary vocals that are a bit deeper, but more nuanced. It features my favorite performance of I Cover the Waterfront ever. This is one cd I turn to again and again, one that I could not do without and Very Highly Recommended. Buy it. December 10, tracks March 1, tracks Taken as a whole these sides are among the very best Getz ever made, certainly during this early period.
Included is a whole CD of material recorded live at Storyville in Boston in Octoberwith Jimmy Raney on guitar, that contains superb examples of Stan's swinging Lestorian approach Raney is in top form as well. I'm not sure how long this set is going to remain in print, so if you see it and don't have it, grab it before it's too late. These are essential recordings, not only for Getz fans, but for all jazz enthusiasts. A gotta-have set.
The light tone and hard-swinging attack are already abundantly evident. The vast majority of this collection is composed of quartet and quintet sessions though, the best of them recorded live at Storyville, Boston, on October 28, Raney and Getz seemed to have a real rapport going; the sparks fly when they play together.
The one caveat is the sound; Roost was a small label, and as the producer warns, it was impossible to locate first-generation masters of most of these songs. But considering that, the sound isn't THAT badcertainly the spirit and panache of the music easily shines through any audio flaws. Miles, Stan Getz, and Lee Konitz are all on here. Get it if you haven't already, because it is great. But both Shearing and Van Damme, LP), in appealing to a more popular market, could sometimes veer close to My Funny Valentine - Buddy Rich - Latin Silk (Vinyl music".
There is no whiff of cocktails in the program on Moonlight in Vermont. Indeed, the drums, bass, piano combinations are uniformly powerful, and feature some of the masters of the "west coast" sound including Eddie Sanfranski.
Even relatively less well known players such as Sanford Gold hold their own in some distinguished company - Stan Getz, Paul Quinichette, and Zoot Sims. Mr Smith is consistently superb and the music still sounds good after 50 years. Listen to Moonlight in Vermont. It is unique for its combination of pithy feeling and technical virtuosity. Technically, Smith burns on single-note leads and soothes with inventive chord melody playing. Perhaps his style sometimes borders on being too precious and precise, but this is trifling criticism.
His style comes from the "cool" school of jazz Lennie Tristano, et al. Whether you are listening to the superlatively sweet 'Moonlight In Vermont' or the up-tempo 'Jaguar' or 'Tabu' you are treated to Johnny's virtuosity as well as the all-star talent his is accompanied by on every cut. A must for every jazz lover or serious stundent of jazz and jazz guitar.
The tunes on the set feature Johnny's mellow electric guitar setting the pace, alongside wonderfully-blown early solos from Stan, plus some other tenor work from Zoot Sims and Paul Quinichette, who also sit in the tenor chair on a few of these recordings. The tunes are mostly standards, but done in a great style that's not exactly cool jazz, but which has a groundbreakingly easy groove that's simply sublime!
The mixture is typical of his repertoire of that period bop originals, bebop variations on well known tunes 'Long Island Sound' is based on 'Zing Went the Strings of my Heart', for instance, and ballads.
His sound and general approach seem anything but cool, on joyful romps through the extended up tempo tracks; moreover between Getz and guitarist Jimmy Raney there existed an excellent rapport, and the two men and their instruments blended well together. It is not surprising therefore that Raney, with his own quiet and unhurried approach, was the longest serving member of the Stan Getz groups of this period. More than an hour of Stan Getz is always welcome.
This should not be a factor to discourage a fan of either musician from purchasing this release. Frequently, the competition between musicians creates some fantastic creative improvisation, and that's exactly what "West Coast Live" documents.
Both Getz and Baker are youthful and fluid in their ideas. Baker's chops are solid, as he has teeth at this period of his career. The selection of Bop classics couldn't be more pleasing. I have listened to these disks close to times, and still hear new content. True, Getz' ego has always run away with itself when in the presence of Baker, but that's what keeps both musicians on their toes.
Personally, I do feel Baker was overly passive and unfairly abused by Getz, but feeling sorry for him is unnecessary. Baker stands on his own quite well, and in my opinion, steals the show on these classic live performances. No wonder Getz' was jealous! This is relatively early Diz--before the bent upswept bell--but he's LP) peak form, and the fidelity isn't wanting. Getz sounds relaxed and ready to play Dizzy's own game, even mimicking some of the master player's licks.
The tone that the saxophonist gets when he tries to play "hard" has always sounded "roosterish" to me. Here we get the inimitable "cool" sound of Getz carrying a man's load. Some listeners may recoil at a program no doubt Granz-inspired that includes "Girl of My Dreams" and two parts of Lecuona's "Siboney. There are also some listeners who will complain that these Granz Verve sessions lack the rhythmic thrust of Van Gelder's many Blue Note dates. The difference is partly due to the music idiom and its practitioners these are musicians more interested in the "language" of bebop than the "groove" of hard bop but also to recording engineers.
Van Gelder "enhances" the horns, boosts bass, drums, and alters the piano sound to a degree than would simply be unacceptable to an Oscar Peterson. The Blue Notes have their place, but suffice it say that the musicians on this more "natural-sounding" Verve recording would be done a disservice by any tampering with the sound. Finally, this is relaxed but still stunning Gillespie, even down to his "funky" solo on the quirky inclusion of a Gillespie original "One Alone" that features an entirely different rhythm section along with tenor saxophonist Hank Mobley!
Far too little--likely to make any listener with ears go crazy looking for a complete session featuring this pair. One that should be heard by all jazz fans. The ignorant notion that Stan Getz got wiped out by Dizzy is preposterous. Both musicians play their hearts out. Of course Dizzy plays great here - he was at the top of his game. Listen to Stan's amazing facility, clean articulation, and fleet fingers on the incredibly up-tempo "Don't Mean A Thing.
For top musicians like these two, it was all about furthering the music. The game of "who won the jazz boxing match" is left to half informed non-musicians who don't know how difficult it is to play on the level of these two superb gentlemen.
The song selection is classic and leaves plenty of blowing room, the best workout being the Ellington tune "It Don't Mean a Thing On this track you'll hear what may well be Getz's most frenetic solo, along with one of Oscar Peterson's best.
But there are a number of ballads as well, more conducive to Getz's cool, cooing tone, to relax things a bit. Top shelf stuff. It's another case of the bandleader challenging his band, and evoking incredible performances. Stan Getz at his finest, melodic ballads but also fast tempos with an amazing piano player called John Williams. This is all from memory, I do not need to see the album, I have all the solos in my head.
Bob Brookmeyer is on valve trombone, he uses a strong depth of imagination. I sought him out some years ago in Toronto for a brief friendly chat from my side.
Mostly I wander up to musicians casually, they always appreciate sincere compliments, but in Brookmeyer's case I was complimentary and respectful. Deservedly so I think today this is an overlooked album but I promote it strongly to my friends and play it frequently.
Listen first to Feather Merchant, this was done outside the concert in a studio but personnel is same. Is this not one of the best jazz things you have ever heard? I love it I have CDs some classical but mainly modern jazz, I have every album by Stan Getz When you listen, take in also Al Cohen's composition Tasty Pudding for a real melodic treat, and the unforgettable Loverman, that was the first time I heard the song. Oh, and I have to tell you, there is a heckler in the audience at the Shrine, yes the dialogue is all there with the introduction and voice of Duke Ellington for Stan Getz being one of the leading exponents of the Cool School Anyway Stan puts down the heckler, I won't tell you what he said but everyone laughs, it is very interesting to hear Stan's young voice, so tender There was nobody else on tenor at the time.
Brookmeyer was excellent too, I mean he was the best, you should also listen closely to the pianist. Wow, what an album!!! You buy, you will thank me Hence his "Jazz at the Philharmonic" series, pairing together on stage practically everybody in Jazz and everyone else. Results were generally mediocre, but a lot more people DID hear combo Jazz, which was progress.
In this case, a young Stan the Man, the greatest saxophonist of all time, shared the spotlight with Bob Brookmeyer on valve trumbone. They played together off and on for years, one of the few other performers Stan genuinely respected, instead of treating as background.
They play in a similar tone and range. Getz suggested in Downbeat that Brookmeyer be in the Stan Getz band, but Brookmeyer objected and Getz backed off and said this was wishful thinking. Herein they play complex bebop duet and ballads. Pleasant melded tone, clever without ever being in your face, it's the best of the Norm Granz pairings. Getz's sax and Brookmeyer's valve trombone dance around each other in intricate arabesque arrangements.
Most of the rest of Getz other albums are solos with combo accompanyment, or with Chet Baker, when everyone gets a turn, true duets like this were quite unusual for Stan.
Samples don't do justice to the music, selections should have started with the music, not the talk. Despite the My Funny Valentine - Buddy Rich - Latin Silk (Vinyl that this was not your typical "West Coast" session -- the playing was anything but cool or syrupy smooth -- these musicians, along with the Clifford Brown-Max Roach Group, would become synonymous with a harder L.
This remastered Verve disc also boasts five songs not included on the original LP issue, two alternate takes, and a sumptuous gatefold digipak with extensive liner notes. So it was by sheer luck, and my good fortune, that I was driving around a few months ago without a CD, searching through the radio looking for something good.
I stopped when I heard some swinging jazz coming through a station. My Funny Valentine - Buddy Rich - Latin Silk (Vinyl big band swing, but more of a smooth and smoky sound, straddling the line between bop and swing without being precisely one or the other. At the end of the track, I was quite surprised to hear the announcer tell me that that was from Stan Getz's "The Steamer".
When I got home, I hopped online and sampled more tracks from that album. Good stuff - so I went out and bought the whole album, and have been loving it ever since. After that, I read up a little more on Getz, and discovered that there was a lot more to him than The Girl From Ipanema. Since I had to go to Tower to exchange an unwanted DVD gift, I went thumbing through the racks to see if anything jumped out at me.
His "West Coast Jazz" caught my eye, since it was mid 50's pre-bossa nova, and a full CD of over 70 minutes. Seemed like a no-brainer. Where have I been? Why has this sax tone been hiding from me? What I heard on "The Steamer" continues here. Sweet without being cloyingly so, cool without sounding pretentious. The trumpet on its own it's not that harsh, but Getz's tenor sax is so smooth that when the trumpet comes in, the contrast is that much more evident in its sharpness.
Pick your favorite cliche - baby's bottom, silk, satin - Getz is smoother than all of 'em. And the rest of the band who fills out the quintet is absolutely perfect. It's Conte Candoli's trumpet and Lou Levy's piano that are the other prominent instruments here, with the bass and drums holding down the rhythm with consummate professionalism.
I don't listen to the Woody Harman Band maybe I shouldbut that band's members who appear behind Getz support him perfectly. Nobody's stepping on anybody's toes.
With more than half of the songs over six minutes there's plenty of time for charismatic phrasing all around. No need to go song by song; I've only gone through this a few times, but every track can stand on its own.
I've already loaded this into my computer at work so I won't be without it. The only thing that would make this more complete would be if it were sold with a martini with two olives. His stable included a virtual who's who of big band legends and jazz up-and-comers and this session represents exactly that kind of pairing.
You have Lionel Hampton on vibes, swing band icon who also became famous with the Benny Goodman small groups and Stan Getz on tenor who, at the time of this recording wasn't all that far removed from his seat in the famous "Four Brothers" sax section of Woody Herman.
Backed by the quintessential west coast rhythm section of Levy, Vinnegar and Manne Both men are in fine form and work well together.
On the slower numbers Getz is very breathy - you can hear the air escaping from the vibrating reed. GLADYSE is a handsome blues by Hamp named after his wife and we get two takes here: the issued take is taken a bit faster than the alternate, and during the exchange of choruses in the alternate Hamp loses count and hits a clam.
This is what mainstream jazz at it's finest is all about. As if to drive the point home, composers My Funny Valentine - Buddy Rich - Latin Silk (Vinyl as trumpeter Dizzy Gillespie crafted certain tunes to function as musical obstacle courses, which quickly separated the men from boys--without mercy.
Such is the premise on For Musicians Only, save that with a driving rhythm section keyed by bassist supreme Ray Brown, and saxophone masters Stan Getz and Sonny Stitt on board as the other horns, there is no shortage of musical fiber. Brisk tempos and challenging chord changes are the order of the day, with Gillespie's anthemic "Bebop" setting a daunting standard.
The trumpeter is in peak form here and on a riveting "Lover Come Back to Me," articulating breathtaking runs and high-wire rhythmic variations with all the fluidity of a saxophone, but with a tart, crackling tone all his own. Stitt, as is wont, plays with incredible speed and rhythmic articulation, and anyone who visualizes Getz as no more than the arbiter of cool tenor, should take note of this sheep in wolf's clothing's relentless melodic intensity on "Wee Allen's Alley.
Well nothing could be further from the truth he said "The count offs were breath taking but once they got thru BeBop everything settled down" his favorite was Wee Allen's Alley. It was virtually a live real Bebop session, nothing worked out, just play by the seat of your pants or get off the bandstand. Like it or not that was the way it was with Bird and those cats, the real thing no pretense" "I love, love, love this album.
You can feel an incredible energy coming out of this record. Bebop was a serious music business in those days. If you were a jazz musician then you should be able to play with these monsters at the breakneck speed presented here. And I think it could sounded scaring Today you can't find in a thousands jazz records the same energy, the same stunning musicianship you can find here in this 58 date.
Previous reviewers stated some very true things about this album. Among them the fact that at that time computer didn't exist. This is what happened in the studio, first take.
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