Diz & Getz

Stan Getz, Dizzy Gillespie | Format: Audio CD

Product Details

• Audio CD (March 21, 1990)
• Number of Discs: 1
• Label: Polygram Records
• ASIN: B000004766
• Also Available in: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.8 out of 5 stars  See all reviews (8 customer reviews)
• Amazon Best Sellers Rank: #221,303 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

13 of 13 people found the following review helpful:

5.0 out of 5 stars Great Getz and Diz, March 21, 2005

By 

Keep It Real (Albuquerque, NM) - See all my reviews

This review is from: Diz & Getz (Audio CD)

This is a classic recording. 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. But Stan TOTALLY keeps up with Diz. One wishes that the producers/engineers hadn't made Diz play with the cup mute so much. Listen to Stan's amazing facility, clean articulation, and fleet fingers on the incredibly up-tempo "Don't Mean A Thing." Stan also plays beautifully on the ballad "Talk of the Town". 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.

15 of 16 people found the following review helpful:

5.0 out of 5 stars "Dizzy Out for Blood", November 15, 2001

By 

Joseph L. Keohane "vdamocles" (Somerville, MA United States) - See all my reviews
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This review is from: Diz & Getz: Vme (Audio CD)

Excellent record, among Diz's finest outings on Verve. The song selection is classic and leaves plenty of blowing room, the best workout being the Ellington tune "It Don't Mean a Thing...", in which Diz lights a fire so hot it seems like the rest of the band is playing out of sheer terror. 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.

In the liner notes OP recounts how Diz came into this session wanting "a piece of Stan Getz, bad... he wanted to take advantage of someone, and i decided it wasn't going to be me." Diz again succeeds in drawing incredible performances out of his band, getting them to play beyond themselves. Top shelf stuff.

Also, if you like this one, get "Sonny Side of the Street" with Diz, Sony Rollins and Sonny Stitt. It's another case of the bandleader challenging his band, and evoking incredible performances.

7 of 7 people found the following review helpful:

5.0 out of 5 stars The Unvarnished Truth, January 31, 2007

By 

Samuel Chell (Kenosha,, WI United States) - See all my reviews
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This review is from: Diz & Getz: Vme (Audio CD)

This early meeting between Diz and Getz may be more satisfying than the duets with Rollins and Stitt, the meeting with both ("Sonny Side Up"), or the three-way interaction of Diz, Getz and Stitt on "For Musicians Only." On this Diz-Getz '54 recording, the presence of Oscar Peterson is a definite plus, providing the session with a bit more firepower than the aforementioned dates. This is relatively early Diz--before the bent upswept bell--but he's in 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." I say good riddance to so much of the current fare that passes for "original" songwriting.

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.)

[Some previous reviews have recently led me to discover "Bop Session," a Swedish-produced meeting between Diz and Stitt that is somewhat of a revelation: who among us realized just how much horn the then-iconic Gillespie was playing as late as 1975 ? Max Roach insisted that the album not be under Gillespie's name, but no Diz fan should let this one go by unnoticed. Stitt's sound is also beautifully captured.]