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Jazz Giants 58 Original recording remastered

15 customer reviews

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Product Details

  • Audio CD (March 18, 2008)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Verve
  • ASIN: B00134MBNQ
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (15 customer reviews)
  • Amazon Best Sellers Rank: #26,434 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

14 of 15 people found the following review helpful By Nikica Gilic on April 8, 2008
Format: Audio CD
Yes, this is a beautiful and logical aglomeration of jazz giants: those who are the giants of modern jazz (Mulligan, Getz) have deep roots in the jazz tradition;
it is actually quite fascinating to hear Stan Getz on the opening number: he actually adds some of Lester Young style wailing to his cool tenor sound! That's quite compatible with the general mood of the song, with Harry "Sweets" Edison, in his prime, and really swinging rhythm section, consisting of Oscar Peterson's trio (with great Ray Brown having some opportunities to solo on this album and Herb Ellis doing some very effective comping), plus great Louis Bellson on the drums...

The basic principle of this album leans towards swing rather than modern jazz, but modern jazz is a key ingredient to this brilliant mainstream affair; it is a genuine pleasure to listen to Harry Edison working on Dizzy Gilespie's standard "Woody'n'you"...

All the musicians involved really shine (and both Mulligan and Getz have previously proven how well they work with older musicians - Hamp, the Prez, Roy Eldridge...) so this is a mainstream jazz affair to remember, a true festival of jazz giants, with Mulligan, in addition to sensitive solos, contributing some head on arrangements...
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6 of 6 people found the following review helpful By Caponsacchi HALL OF FAMETOP 500 REVIEWERVINE VOICE on September 14, 2005
Format: Audio CD
My satisfaction in discovering the existence of this reissue is tempered by the realization that Verve's unfortunate choice of a title virtually assures that no one not already familiar with the session is likely to find it. Gerry, Sweets, Oscar, Bellson--these are some of the most identifiable, inimitable and personal instrumental voices in American music, and each of the musicians speaks with sufficient authority to be considered "leader" on the date. But it is Getz who makes the most lasting impression. Stan Getz--a player whose facility and pyrotechnics are perhaps equalled by no other tenor saxophonist (listen to "For Musicians Only," his date with Diz and Stitt) and whose melodic-harmonic sensibilities, as demonstrated on an album such as Eddie Sauter's "Focus," are still beyond the reach of most musicians. Yet on this occasion he offers up some of the most laconic, minimalist playing on record--not the effete, whispering and somewhat wimpy and meandering solos of his early West Coast "cool" jazz period but music that's as deeply embedded in the blues as Lady Day and Lester performing "Fine and Mellow."

On "Chocolate Sunday," which is introduced by a remarkable Ray Brown bass solo (no artificial boosts or electronic pick-up), Getz follows Oscar Peterson's thunder by practically eschewing technique altogether in favor of pure emotional expression. It's an instance of brilliant restraint resulting in playing of unrestrained feeling. Each sound is articulated differently--from above the pitch or just under it--and the notes are more often sustained than clustered into glib phrases. It's as basic and fundamental as the music can get, an honest cry from the heart that's at the same time penetrating if elemental lyric poetry.

Of the many Getz recordings I've collected, this is the one I'd be most reluctant to part with.
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Format: Audio CD
What a surprise to find this session reissued, and domestically at that. Gerry, Sweets, Oscar, Bellson--these are some of the most identifiable, inimitable and personal instrumental voices in American music, and each of the musicians speaks with sufficient authority to be considered "leader" on the date. But it is Getz who makes the most lasting impression.

Stan Getz--a player whose facility and pyrotechnics are perhaps equalled by no other tenor saxophonist (listen to "For Musicians Only," his date with Diz and Stitt) and whose melodic-harmonic sensibilities, as demonstrated on an album such as Eddie Sauter's "Focus," are still beyond the reach of most musicians. Yet on this occasion he offers up some of the most laconic, minimalist playing on record--not the effete, whispering and somewhat wimpy and meandering solos of his early West Coast "cool" jazz period but music that's as deeply embedded in the blues as Lady Day and Lester performing "Fine and Mellow."

On "Chocolate Sunday," a medium-tempo blues in G introduced by a remarkable Ray Brown bass solo (no artificial boosts or electronic pick-up), Getz follows Oscar Peterson's thunder by practically eschewing technique altogether in favor of pure emotional expression. It's an instance of brilliant restraint resulting in playing of unrestrained feeling. Each sound is articulated differently--from above the pitch or just under it--and the notes are more often sustained than clustered into glib phrases. It's as basic and fundamental as the music can get, an honest cry from the heart--elemental yet penetrating lyric poetry.

Of the many Getz recordings I've collected, this is the one I'd be most reluctant to part with.
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5 of 5 people found the following review helpful By James E. Scalise on November 4, 2005
Format: Audio CD
One of the priemere recordings of the 50's! Why it is not more popular is beyond belief. They named it right, this is timeless music. GERRY MULLIGAN/STAN GETZ/HARRY EDISON/OSCAR PETERSON/HERB ELLIS/RAY BROWN/LOUIE BELLSON. Norman Granz - BLESS YOU! GETZ SOLOS on this LP have brought tears to my eyes on many occasions. And the others are not far behind. SUPERIOR GROUP JAZZ! Every jazz fanatic should own this one.
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