Captain Marvel [Original recording remastered]

Stan Getz | Format: Audio CD

Product Details

• Audio CD (August 5, 2003)
• Number of Discs: 1
• Format: Original recording remastered
• Label: Sony
• ASIN: B00009VU2Y
• Also Available in: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.3 out of 5 stars  See all reviews (20 customer reviews)
• Amazon Best Sellers Rank: #313,759 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com essential recording

Throughout his career, Stan Getz thrived on the challenges presented by a hot young rhythm section, spinning out long, fleet lines with his airy, gauzelike sound. This session from 1972 is one of his finest efforts. The emphasis is Latin and electric, with Chick Corea on electric piano, Stanley Clarke on electric bass, Airto Moreira on percussion, and the crucial factor, Tony Williams, on drums. Together they generate tremendous rhythmic movement and concentrated musical energy on five of Corea's tunes, and Getz's response is superb, combining cool lyricism and an inner fire in a way that suggests musical cold fission. "La Fiesta" and "Captain Marvel" are particularly potent, while the brief version of Billy Strayhorn's "Lush Life" is a concentrated and deeply moving vignette. --Stuart Broomer

Product Description

Getz sure could pick his rhythm sections; this 1972 date found the tenor backed by Chick Corea, Tony Williams, Airto Moreira and the hot new bassist on the scene: a 20-year-old Stanley Clarke! The five Corea tunes plus Lush Life from the original LP join bonus alternates of Captain Marvel; Crystal Silence , and Five Hundred Miles High !

Customer Reviews

Most Helpful Customer Reviews

22 of 25 people found the following review helpful:

4.0 out of 5 stars Captain Marvel Stan, February 14, 2006

By 

asugar2 "asugar2" (Seattle USA) - See all my reviews

This review is from: Captain Marvel (Audio CD)

by Marshall Bowden
By the time Stan Getz recorded Captain Marvel with Chick Corea, Stanley Clarke, Tony Williams, and Airto Moreira, he had been in the music business for nearly thirty years, and was widely revered as world-class jazz musician with a unique tenor sax voice. Getz began his career during the big band era, and cut his teeth with bandleaders as diverse as Stan Kenton, Benny Goodman, and Woody Herman. A leader of swinging small groups throughout the '50s, Getz spent some time in Europe following a career disruption caused by long-standing drug problems. He returned to the U.S. in time to help sustain the Brazilian jazz-bossa craze, recording a series of albums with Joao Gilberto and wife Astrud Gilberto that remain among the most popular jazz recordings of all time. Getz continued to work and record at home and abroad throughout the 1960s, but by the end of the decade and the start of the next, things were changing rapidly. Traditional post-bop jazz was on the ropes, and there were a lot of new sounds in the air, many of them thanks to Miles Davis and his amazingly talented coterie of young sidemen. Getz was interested in putting together a new book of tunes for his return to New York following a European stay.

Chick Corea, a young pianist who had cut his teeth with Miles Davis's first electric bands, recorded a couple of amazing trio dates under his own name, and then moved on to form the avant-garde improvisational group Circle, was in the process of writing for and forming a new band that would be known as Return to Forever. The group would expand on Davis's moves toward electric music and musical forms that communicated more directly with the listener than the abstract jazz of the late 1960s. Corea and Getz crossed paths, and the idea of forming a quintet with Getz took hold. Corea brought along percussionist Airto Moreira and 20 year-old bass phenom Stanley Clarke. Rehearsals began, but according to the original liner notes by Albert Goldman, the project wasn't quite jelling until Getz brought in drummer Tony Williams. Corea's reminiscences in the new liner notes suggest that he brought the entire group to Getz, which makes sense since Corea and Williams had known each other for some time, even before they played together with Miles. In any event, the band worked out the arrangements and opened at New York City's Rainbow Room to wild acclaim and lines of potential listeners outside. Following the engagement, that group went into the studio and recorded Captain Marvel, long acknowledged as one of the best jazz recordings of the '70s and a return to form for Getz. Sony Legacy has now reissued the album, remastered and with three additional tracks that only add to the album's legendary status.

Corea composed five of the six tracks on the original album, and that fact says much about both Corea as a composer and Getz as a mature artist who knew talent when he heard it. There are many other artists who would not have felt comfortable recording the compositions of another, younger musician and allowing their young band so much room on something of a "comeback" album, but Getz was never an artist subsumed by ego, preferring instead to do whatever was necessary to provide the best musical experience possible. It also didn't hurt that the pieces themselves had a heavy Latin flavor, which lent itself well to Getz' propensity for rhythmic improvisation, nor that Corea's soaring melodic lines allowed Getz the opportunity to utilize his beautiful, romantic tenor tone in their service.

"La Fiesta" became a mainstay, not only in Return to Forever's book, but in the books of virtually every big band out there. Maynard Ferguson and Woody Herman had arrangements, as did every small working jazz ensemble at the time. Alternating between a paso doble and a bright, major-key melody that is as catchy as a Top-40 pop song, it's an irresistible piece that instantly creates goodwill between musicians and audience. Clarke roams at will across the lower range of the group's sound while Williams keeps the pace with an almost unbelievable energy, fusing the vigor of flamenco and the unexpected accents of bebop with the exciting drama of rock.

Corea's Fender Rhodes work is transcendent on the entire album. The only musician with as fully developed a conception of the electric piano was Herbie Hancock, but the way the two pianists approached the instrument was worlds apart. To Corea the instrument's very sound connoted magic, and the fullness and beauty of the tones he wrings from it could not have been done with an acoustic piano. He's the perfect foil for Getz, both supporting him and driving him forward without ever becoming intrusive. The first bonus track, a performance of the Corea ballad "Crystal Silence", shows how this new electric instrument could profoundly expand the language available to jazz keyboard players. In the wrong hands, of course, it could be cloying, but Corea is one of the best to ever play the instrument. The alternate versions of "Captain Marvel" and "Five Hundred Miles High" show that this band was creating at a high level, and that the improvisation undertaken by Getz and Corea, in particular, was everything that jazz music had ever been and should be. In short, the fact that Getz was recording with a group of musicians who were leading jazz in the direction of fusion did nothing to alter his distinctive style. Though he was updating his sound and using the music of the day as a springboard, he was in no way attempting to merely do something that seemed fashionable at the time. Captain Marvel was a Stan Getz album because Getz was the nominal "leader" and the only horn player here, but ultimately this was a collaborative album by a group of musicians who were highly attuned to each other, and that is why the album has endured, and still sounds fresh today, some thirty years since it was recorded.

12 of 13 people found the following review helpful:

4.0 out of 5 stars New directions for Getz, new life for Corea and company, September 4, 1999

By 

Todd Jenkins (San Bernardino, CA USA) - See all my reviews
(REAL NAME)   

This review is from: Captain Marvel (Audio CD)

Prior to forming the innovative fusion band Return To Forever, Chick Corea, Stanley Clarke and Airto Moreira served valuable apprenticeships with tenor legend Stan Getz. On this hot classic these four stellar players joined with ex-Miles Davis drummer Tony Williams and brought Getz into the electric-jazz era with a powerful kick. The main highlight is the earth-shaking romp through Corea's up-tempo Latin groove "La Fiesta", with the pianist conjuring images of Barcelona table dances and Getz pouring on the fire with a fresh new vigor. Some of Getz' subsequent electric albums (such as "Children of the World" on Columbia) were sodden, meandering efforts with few stimulating moments, but "Captain Marvel" documents a great band with the tenorman on the threshold of new discoveries. A must-have.

14 of 16 people found the following review helpful:

5.0 out of 5 stars Captain Marvelous, September 27, 2003

By 

Edgar Olivares "The Entity" (New York City, NY USA) - See all my reviews
(REAL NAME)   

This review is from: Captain Marvel (Audio CD)

Tenor saxophonist Stan Getz's career had already spanned three decades by the time he recorded this incredible album with Chick Corea. Getz had been in Spain for a couple of years and was looking for a new group to play with him at a series of performances in New York. Enter Corea and his Fender Rhodes piano. The former Miles Davis Quintet member had his own band called Return To Forever and contacted Getz.

Along with Corea, there was Tony Williams on drums, Airto Moreira on percussion and a young bassist named Stanley Clarke. After a few gigs at the Rainbow Grill this masterpiece would be recorded on March 3,1972. Corea wrote most of the tracks except "Lush Life" which was by Billy Strayhorn and "Day Waves" which he co-wrote. Corea also wrote new liner notes for this remastered album. This disc opens with the very upbeat "La Fiesta" and maintains a Latin groove almost all throughout. The three extra tracks including "Crystal Silence" co-written by Corea bring the the total running time to 68 minutes. The original liner notes have also been reprinted.

Part of his legacy is that he was always willing to try new things. If you are a fan of Stan Getz or jazz-fusion in general then consider adding this masterpiece to your library. Because the seventies may not have been his most vital period, but he still had plenty left to give. This album represents a small yet important chapter in his remarkable and outstanding career.