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Stan Getz Finest Hour

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Audio CD, June 13, 2000
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song TitleArtist Time Price
listen  1. It Never Entered My Mind (Mono Version)Herb Ellis 3:51$0.99  Buy MP3 
listen  2. S-h-i-n-eStan Getz 8:56$0.99  Buy MP3 
listen  3. DesafinadoStan Getz 5:52$1.29  Buy MP3 
listen  4. Early AutumnStan Getz 4:44$0.99  Buy MP3 
listen  5. I'm Late, I'm LateStan Getz 8:10$0.99  Buy MP3 
listen  6. The Girl From Ipanema [feat. Antonio Carlos Jobim, Astrud Gilberto]Stan Getz 5:25$1.29  Buy MP3 
listen  7. Manha De Carnaval (Morning Of Carnival)Stan Getz 5:49$1.29  Buy MP3 
listen  8. I Didn't Know What Time It WasStan Getz 3:28$0.99  Buy MP3 
listen  9. SymptonesThe Clarke-Boland Big Band 5:52$1.29  Buy MP3 
listen10. Con AlmaBill Evans 8:05$0.99  Buy MP3 

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Stan Getz, Bossas and Ballads: The Lost Sessions

Verve Records announces a major find, a previously unreleased session of vintage work by Stan Getz, one of the giants of jazz history. Bossas and Ballads: The Lost Sessions was recorded in March, 1989, and produced by Getz's close friend Herb Alpert. Backing the celebrated saxophonist is his longtime partner, pianist Kenny ... Read more in Amazon's Stan Getz Store

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Product Details

  • Audio CD (June 13, 2000)
  • Number of Discs: 1
  • Label: Polygram Records
  • ASIN: B00004ST4W
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #335,495 in Music (See Top 100 in Music)

Editorial Reviews

Product Description

Great variety on this Getz anthology, ranging from swing to bossa nova and featuring Chick Corea, Astrud Gilberto, Herbie Hancock, Oscar Peterson, Antonio Carlos Jobim and many others! Includes S-h-i-n-e; Desafinado; Early Autumn; I'm Late, I'm Late; Con Alma; Symptones; The Girl from Ipanema , and more.

Stan Getz had one of the most beautiful sounds in jazz history, a light, transparent gauze that mingled high and lows, grit and sweetness. More than just a tone, it was an airy, shifting, living thing that was one with his mercurial improvisations, his sinuous flow of lyrical ideas, and his kinetic, shifting phrases. It was a sound that arrangers loved to work with, and he's matched here with strings and brass, as well as with the small groups that were his typical settings. The ballads here--such as Ralph Burns's "Early Autumn"--are gorgeous, and Getz could bring cool-school lightness to the fastest bop tempos. His sound was an ideal match for the lightly percolating rhythms of bossa nova, with hits like "Desafinado" and "Girl from Ipanema," and it's hard to imagine the Brazilian rhythm's becoming so popular without him. Almost always beautiful, Getz's playing could also be adventurous, as on "I'm Late, I'm Late," with Eddie Sauter's angular, atonal string writing, and "Symptones," from a session with Francy Boland's big band. No hour of music could capture Getz's creative range, but this is an excellent introduction that focuses on some of his stellar moments. --Stuart Broomer

Customer Reviews

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Most Helpful Customer Reviews

10 of 10 people found the following review helpful By William E. Adams on January 4, 2003
Format: Audio CD
This compliation covers the sax player's best work between 1955 and '71 in only ten selections totalling 60 minutes. As an introduction to Getz, or just as an enjoyable jazz disc, I don't see how it could have been better. Some Bossa Nova is here, of course, but we also get Stan with orchestra, and with pianists, and guitarists, and vibes players. Some of the "name" artists who contribute: Oscar Peterson, Herb Ellis, Ray Brown, Connie Kay, Shelly Manne, Charlie Byrd, Joao Gilberto, Antonio Jobim, Astrud Gilberto, Gary McFarland, Doc Severinsen, Hank Jones, Jim Hall, Herbie Hancock, Kenny Clarke and Chick Corea. The star, however, is always Getz. There is a nice balance here of tempo and mood and well-known v. obscure selections. If you like jazz sax in general, Stan in particular, don't miss this one.
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7 of 7 people found the following review helpful By Drew Hunkins on July 27, 2002
Format: Audio CD
Aside from having one of the greatest records in music history on this sensational album (Girl from Ipanema), Getz's Finest Hour includes a healthy sampling of the great saxaphonist's work.

There are two types of jazz recordings: day and night. This album ("album" itself becoming a quaint term with CDs ruling the market place) includes a smattering of both, the day variety, which are conducive to sitting in your favorite mid-day lounge chair while sipping a cool drink; and the night fare, which are cuts that are best heard in a smokey jazz club in the middle of the night. As mentioned, Finest Hour includes mesmerizing examples of both.

For an admittedly limited sampling one cannot go wrong with Getz's Finest Hour, it serves as a nice introduction into a musical genius.
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9 of 10 people found the following review helpful By sm on February 20, 2003
Format: Audio CD
Stan Getz without ANY doubt was the greatest saxophone player ever to walk the planet. NO one had that smooth and melodic tune. In fact, this album represent a good balance between very melodic romantic tunes, bossa nova (oh yes) and of course some wild swinging stuff. While I prefer the bossa nova and more mellow tunes, this album represent a good balance and place to begin for any recent or long time Stan Getz fan.
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Format: Audio CD
Inexplicably, this single-disc Getz collection is currently trailing in sales another one, entitled "The Essential Stan Getz: The Getz Songbook." If you're looking for a disc that comes reasonably close to representing Getz the complete saxophone player, a musician nearly as dominant during his era as Coltrane was, this is the one. The other anthologies tend to dwell excessively on commercially successful tracks from Getz' "cool" period and "bossa nova" successes; this one demonstrates the man's mastery of the horn--not just his Prez-derived yet unique "sound," but his pyrotechnical command of melody, rhythm and articulation. After rediscovering Getz' incredible ten-chorus solo on "Shine" (from "West Coast Jazz"), that's become the first track I go to when demonstrating Getz' incredibly fertile imagination and equally dazzling technique. He employs numerous rhythmic patterns, an inexhaustible arsenal of articulations (from flutter tonguing to double and triple tonguing), all the while sounding utterly relaxed while constructing an ever-building solo at breakneck speed (somehow maintaining throughout the illusion of an ascending, spiraling hummingbird). Conte Candoli bravely follows him, and just as the trumpeter seems to be failing, Getz comes back in, playing a variation on a motif from his own solo as a means of bringing Conte back to life for the end of the trumpet solo. It's a tour de force, perhaps ranking among the several best improvised saxophone solos ever recorded, and the listener should be prepared to listen to it repeatedly before moving on to the next track.

Getz is underrated, even by his fans, whose frequent praise of, and fixation on, his "pretty tone" unwittingly adds fuel to the fire of those who dismiss him as a one-trick pony.
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