Customer Reviews

Captain Marvel

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1 star:		(2)

 

 

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.

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.

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.

My Man Stan!!!....hey!!...who CAN'T listen to cuts "La Fiesta" and "Captain Marvel" and NOT start dancin'???...both cuts hit you like a BLOW TORCH!! Of course, it's the drums & bass that drive you but Stan's fiery sax charts the course!! Both tunes are meant to be played LOUD!

This is BOSSA NOVA times 10!!!....a very muscular SAMBA!...MACHO SAMBA!! This is the first Stan Getz CD that I heard him WAIL (La Fiesta)!!...(normally Stan's not a wailer...he burns at a melodic simmer..."sweet heat"). Although this was recorded in the early 70s...it's NOT dated...it still SWINGS...beyond belief!! I own many (22) Stan Getz CDs...but I don't think he ever burned as hot on these testosterone-induced Latin numbers. There's a couple of quiet numbers ("Crystal Silence") that are quite lovely...ballads, of course, define Mr. Getz.

Why Stan didn't grab Chick Corea, Tony Williams and Stanley Clarke and make a follow-up, I'll never know. He probably thought those young cats would give him cardiac arrest...but he need'nt worry...not only does he keep UP...he LEADS!!

I must admit though, after listening to this CD...I had to catch my breath...and take a shower...it's HOT!!! Buy it...and sweat with a smile!

Stanley!!!....hey!!...who CAN'T listen to cuts "La Fiesta" and "Captain Marvel" and NOT start dancin'???...both cuts hit you like a BLOW TORCH!! Of course, it's the drums & bass that drive you but Stan's sax charts the course!! This is BOSSA NOVA times 10!!!....a very muscular SAMBA!...MACHO SAMBA!! This is the first Stan Getz CD that I heard him WAIL (La Fiesta)!! Although this was recorded in the early 70s...it's NOT dated...it still SWINGS...beyond belief!! I own many (22) Stan Getz CDs...but I don't think he ever burned as hot on these testosterone-induced Latin numbers.

Why Stan didn't grab Chick, Tony Williams and Stanley Clarke and make a follow-up, I'll never know. He probably thought those young cats would give him cardiac arrest...but he need'nt worry...not only does he keep UP...he LEADS!! I must admit though, after listening to this CD...I had to catch my breath...and take a shower...it's HOT!!! Buy it...and sweat with a smile!

If you take the work that Stan Getz produced prior to this record and compare it to material recorded after, you will find that not only is this record a rare gem for its uniqueness, but you learn a little something about Getz himself. This record proves, through its personnel usage and material choice, that Stan Getz was one of the most elastic, or versatile saxophonists ever. He also was committed to a constant betterment of himself and his career, looking for new avenues of expression. In no way is this album a "sell-out", and to suggest such a thing is offensive. Getz manages to maintain his signature style and sound but adapt it to distinctly changing times without sounding dated. The record is genius, the tunes are genius, and the idea to make it was genius. One of my favorite fusion records. The cover art isn't bad either.

I bought this one when it came out in 1975 and played it no more than twice. The mix of the rhythm section was so "hot" Getz at times sounded like someone drowning in the background or, worse, an old guy being run over by these young tigers. This latest edition sets the record straight. Getz was simply victimized by typical 1970s engineering--all bass and even more treble, with no respect for the man in the middle. And it didn't help that someone thought to "enhance" Getz' mellifluous tenor with moderate but unmistakable reverb. All in all, a grating experience.

With this 2008 reissue, Columbia/Sony finally got it right. Admittedly, the rhythm is frequently overly busy, and the Rhodes could use a breather now and then. But Getz plays beautifully, continually fresh, lyrical, emotive and exciting. He takes killer solos on "Captain Marvel" and "Times Lie," and what a revelation to be able to hear him breathe on "Lush Life." Consider this a "must" pick-up, even if it's your 2nd or 3rd.

This is an incredible lineup with amazing chemistry. All Tony Williams fans should love it because Tony is kicking major butt along with Corea and Clarke, and Getz is on the second peak of his career here. Every song is awesome! Check out the videos for 500 Miles High and Captain Marvel on Youtube from the 1972 Montreux Jazz Festival. There is also a video of La Fiesta from the same concert, but it is quite rare.

With the advent of YouTube there is some live footage of this band at Montreaux in '72. It is blazing with energy, and for anyone who loves Tony Williams or Chick Corea from that era it's a must see, just as this record is a must have. How will it fare with traditional Getz lovers? Probably low unless you love high octane, balls-out, fusion blowing. Indeed, Getz wanted to get in on the fusion thing that was happening all around him, and he picked the very best players to do it with. Mutual admiration society here I imagine. A great record for fusion buffs but probably a pass for Getz lovers who want his romantic, sensitive, nuance-filled playing. I know Getz's work in its usual context, and I don't think this is as bad as one reviewer does, but it IS largely a fusion record. As such, be forewarned. But if you love Tony and Chick, you're in for a real treat that many missed when it first came out.

For those of us who have heard Getz mostly in his bossa nova incarnations, this CD is closer at times to rock than jazz, mostly because of the explosive drumming of Tony Williams. The first two tracks are the best. "La Fiesta" and "Five Hundred Miles High" fuse Getz's love for Latin music with his virtuoso understanding of the saxophone. None of the tracks here are weak, however. Getz might not get the kind of praise that jazz fans give to Miles Davis or John Coltrane, but very often, Getz's music never sounds cold or calculated in the way more celebrated jazz sometimes does. The liner notes to Captain Marvel are by the late, great, and infamous Albert Goldman. Captain Marvel is a great album.