Customer Reviews

Jazz Giants 58

5 star:		(7)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

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...

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.

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.

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.

It's been a number of years since I heard a new Stan Getz recording worth mentioning. Since the release of "Bossas and Ballads". Most of what comes out these days are "best of's" or re-packagings.

On this CD we have a jam session, organized by Norm Granz, of a number of artists who bridge the swing and be-bop era and have their feet planted firmly in both.

So the music is happy or sad, but played with much feeling, spirited and it always swings! It's in high rotation and I return to it often, so I'd consider it one of the best of the newer Getz albums.

The "head arrangements" were written by Jerry Mulligan, so the "jam" session is much better organized than most. Mulligan did some wonderful larger group arranging in the '50's and then enentually stopped and went on to standard bebop solo with backup group.

The others, Getz, Sweets Edison, Oscar Peterson, Ray Brown, take turns doing their parts. On "When Your Lover has Gone" Getz comes in faintly behind Edison's solo, so faint you can hardly hear it. Sometimes Mulligan plays up high on his baritone, Getz plays low on his tenor - it is only the sweetness of tone which tells them apart. Edison, with his Harmon mute, creates that mosquito tone reminiscent of Miles Davis in this period.

This is not a solo Getz album with the others backing him (if that's what you are looking for), each player really get all the time to stretch out he wants and the others back him up. However, Getz, when he plays, soars over the whole crowd like a big eagle. Everyone here plays well and seems to have a great time doing it.

"Chocolate Sundae" starts with a swinging bass groove and Medley ("Ballade") gives the principles a chance to play sweet.

Many albums from this period are poorly recorded, this one, I'm pleased to announce, is well recorded. This is better recorded, for example, than the Granz/Verve Getz with Mulligan and Getz with Peterson albums, are also great performances, but a but murky.

Chocolate Sundae Blues

When Your Lover Has Gone "Gerry's Time"

Candy "Gerry's Time"

Ballad

Lush Life "Gerry's Time"

Lullaby Of The Leaves

Makin' Whoopee

It Never Entered My Mind

Woodyn' You "Gerry's Time"

"Jazz Giants" features Stan Getz, Gerry Mulligan, Harry Edison, Louis Bellson and the Oscar Peterson Trio playing five tunes. Chocolate Sundae and Candy are two of my personal favorites. Which ones would be your favorites? If you are a lover of Jazz here is the CD for you! I highly recommend this CD and know that you will not be disappointed. I was also extremely happy with the seller of this CD and the other CDs I purchased through Amazon.com

Most fans of cool jazz will find this album quite engaging. Although credited as a Stan Getz date on packaging, it's more like a Gerry Mulligan date - and he was the main arranger.
Getz and Oscar Peterson are excellent on all the tunes. Mulligan is terrific except where he has to shoulder the lead on "Lush Life" - might should have rehearsed more. I was not expecting to appreciate Harry Edison too much, but overall he was not bad. His always muted trumpet was out of place on "Woody 'n' You" however and his solo there showed his shortcomings. Ray Brown is a solid bass man and showed that here. Herb Ellis' fills on "Chocolate Sundae" seemed a bit inappropriate at times but his solo there shined. Louie Bellson provided solid rhythm throughout. This is highly recommended for fans of Mulligan, Getz or Peterson.

I don't where these other reviewers are coming from. They could be hired guns. This is obviously Mulligan's date as the opening of Chocolate Sundae would indicate. Getz's lyrical playing is overshadowed a bit by Mulligan's more robust tone which contains much lyricism as well. It's a great swinging session. Harry Edison, Herb Ellis, and Oscar Peterson are the other major soloists.----------- If you want more Mulligan with this tone and this type of groove, with no other major soloist except the pianist try JERU,MIDAS TOUCH and DREAM A LITTLE DREAM. Also with Dave Brubeck- AT THE BERLIN PHILHARMONIC. Gerry used a stiffer reed for a more refined sound on his Concert Jazz Band recordings and seems to be playing with it on Dave Brubeck's THE LAST SET AT NEWPORT and WE'RE ALL TOGETHER AGAIN FOR THE FIRST TIME with Paul Desmond added.

I like this one, but with all the 5 stars given out freely by other reviewers, I feel I need to level things out with 3 stars. Yes, its very good jazz but it is basically a jam session. Great players get together, run through a few standards and each one takes a few chorus.

This one is filed under Stan Getz, but that is really a catch to lure more buyers, since Getz probably sells more units. All players should get equal billing on this one. Getz on 'It never enter my mind' is really great.