Customer Reviews

Stan Getz & The Oscar Peterson Trio: The Silver Collection

5 star:		(29)
4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This CD presents a very important collaboration. Stan Getz may be the most lyrical tenor saxophone player to have ever graced the face of the earth. Only Lester Young comes close. Prez modeled his sound on that of Frankie Trumbauer's C-melody saxophone, and Getz' model is Prez. Both of them transcend Trumbauer's syrupy improvisations. Getz' tone and the lyricism it supports are evident. All of this is for context, of course. This recording is truly a major musical event. It was on a par with Lester Young's famous collaborations with Teddy Wilson and Oscar Peterson. During this 1957 recording session, all of which is on the CD, Peterson's trio and Getz were more than comfortable with one another, and their mutual musical respect yielded classic performances . The cooperation is evident in Getz' solo on "I Want to Be Happy," a model of precision and lyrical invention. Peterson's solos are equally impressive; there's no unnecessary embellishment or decoration, and he swings powerfully. The long ballad medley--"Bewitched, Bothered, and Bewildered," "I Don't Know Why, I Just Do," "How Long Has This Been Going On?", "I Can't Get Started," and "Polka Dots and Moonbeams"--features fine solos by Getz and Peterson as well as Herb Ellis on guitar and Ray Brown on bass. In the interplay between the trio and Getz in such numbers as Getz' "Bronx Blues." the quartet sounds like a permanent group. In "Three Little Words" Ellis sets down a solid rhythm and Peterson comps behind Getz' opening solo before delivering an eloquent statement of his own which Getz answers with equal grace. The Getz-Peterson collaboration is particularly appealing on Ellis' "Detour Ahead," a prime instance of their treatment of ballad material. On "Sunday" Ray Brown's persistent bass and Ellis' percussive guitar support Getz admirably. The quartet even approximates a rhythm 'n blues song with Getz' "Blues for Herky." It's not every day that you hear Herb Ellis playing blues guitar with Oscar Peterson doing boogie woogie and Stan Getz blowing like he was in a jump band. But here it is, and it comes as a surprise bonus with some really superb jazz.

This was recorded at the tail end of Stan's "California period" (1953-57), after which he would spend much time in Europe before returning to the States and establishing a base in NYC. His famous Lestorian sound, cool and lyrical, was fully established, and he loved nothing more than (and was better than just about everybody else at) playing the Great American Songbook at medium to medium-up tempos and swinging the daylights out of it.

On this CD he joins up with the Oscar Peterson Trio (Peterson (p) Herb Ellis (g) Ray Brown (b), a group that also was no stranger to the Songbook alluded to above. Stan's tone is a tad huskier than usual and deeply melodious. The first tune on the CD (I WANT TO BE HAPPY), which according to matrix numbers looks like it was the last tune recorded, is interesting in the way Peterson inspires his sidekick: taken up-tempo, Getz has the first solo spot, and he's very relaxed and sounding as if he's happy with a good day's work, but knowing they're at the end of the session, no point in sweating it; then Peterson comes on and takes a wailing solo like there's no tomorrow. Getz solos again, but this time he's on fire, inspired by Oscar's take-no-prisoners approach, and lays down his best solo on the CD. That's genius at work, from both men.

But there are many highlights on this excellent CD. PENNIES FROM HEAVEN is in a medium groove and is all Getz - very nice. TOUV'S END, based on the chords of SWEET GEORGIA BROWN, is an interesting tune and features an excellent Herb Ellis solo. BRONX BLUES, a slow blues, has a strange tag-on final chorus initiated by Oscar that sounds like he blew the cue to finish where it was supposed to. (The other blues on the CD, BLUES FOR HERKY, is a medium boogie blues, and is not exceptional.) THREE LITTLE WORDS contains a wonderful stop-time chorus by Stan near the end. And Stan's beautiful melodic playing is most obvious on the slow ballad I'M GLAD THERE IS YOU.

This CD is a great one for Stan during a period when he was producing some of his greatest work. Not only a must-have CD for Getz (or Peterson) fans, but a welcome addition to anyone's jazz CD library. It will get lots of play time, believe me.

GETZ RECORDED WELL OVER ONE HUNDRED ALBUMS, AND I'D RATE THIS ONE AMONG THE BEST OF HIS BEST. I'VE WRITTEN THREE TRANSCRIPTION BOOKS ON STAN GETZ'S MUSIC, AND THIS ALBUM IS AS EXCITING ON THE 10,000TH LISTENING AS IT IS ON THE FIRST!! IT'S A GREAT REPRESENTATION OF LATE 1950'S GETZ STYLE BEFORE THE BOSSA NOVA PERIOD.

The Oscar Peterson Trio never sounded so good. What a beautiful blending of melody and rhythm this group has. An atomic clock could be set with what Oscar, Ray and Herb do. The addition of Stan Getz's melodic ideas makes this CD a true joy. One gets the impression from how Oscar sometimes starts his solos by quoting the previous soloist that the guy can play almost anything that happens to enter his head.

I just got this CD, and I love it. Very soothing and relaxing. The emphasis is definitely on Getz; he plays over Oscar's piano, so it's more Stan Getz than the Oscar Peterson Trio. If you're a fan of Getz, you'll love this album.

Certainly the previous reviewers have said it all, but I'll simply add that Getz' tone seems to actually benefit (or his playing does) from the lack of a percussionist - even though Herb Ellis' 4/4 may qualify - much as it did 3 decades later with Kenny Barron on "People Time". No, this is even better. "Pennies From Heaven" is absolutely flawless with Stan soaring both before and, especially, after the key change. The "Ballad Medley" is gorgeous. Oscar plays perfectly under Stan when needed and doesn't overpower even when he could on his solos. Ray Brown and Herb Ellis fit like a glove. This was one of my favorite LPs, even though it was mono - but as a CD, in stereo, and with a whole 30 minutes of material that was not on the LP, it ranks as one of my top 10 out there. Beautiful!

This is an excellent CD...Herb Ellis' rhythm guitar is so perfect it's scary...they swing so hard without a drummer that drummers should buy this CD up in self defense. Oscar and Getz understand each other and their dialogue is rich and thoughtful...today's players don't swing like this...this is good, solid, deeply grooved four-four swing which is a lost art...every rhythm guitar player should listen to Herb Ellis (and Freddie Greene)...what an absolute treat...

This is the most enjoyable of the three Getz CD's I own, and of course, Oscar and his playing partners are superb, whether soloing or supporting. This has a great mix of uptempo and ballad tracks, and gives Herb Ellis on guitar and Ray Brown on bass some shining moments as well as the principals. There are ten earlier reviews posted here, and most of those folks agree with me that this is one of best albums to come out of what I consider the golden age of jazz...the second half of the '50's. I'm not sure why the 1955-'60 period produced such music, but rock was good, Broadway was good, classical LP's sold well, comedy records were hot, there still was a "pop" music segment distinct from rock, and rhythm and blues and country had their share of crossover hits as well. It just was a creative time in a fairly affluent culture, and all forms of music benefitted. There is not a minute on this Getz/Peterson outing which is boring. The menu is mostly standards, but played in quite interesting style. I can't imagine any general music lover not enjoying this one---you don't already have to be well-versed in jazz.

The Oscar Peterson Trio did a number of these releases featuring artists of the day. Stan Getz is another one who, with the help of the OPT, shines. Check out the OPT with Louis Armstrong... excellent craftmanship, and so is Stan Getz. The OPT set a standard for this type of collaboration. The sound quality is good, during periods of quiet some hiss is evident, this is probably caused by the tape quality and lack of effective filters for this white noise back when these recordings were put down on acetate. As always with OPT...Very enjoyable.

This is hands-down, the best jazz album I've ever owned. Whether sitting in front of the speakers with eyes closed, absorbing every note, or using it as unobtrusive (but swingin') background music while I work, this album shines.

If you're an audio snob who expects every last KHz of treble to be there, you will be dissappoined. The audio quality is only on par with a good cassette tape, but the music more than makes up for it.