It is a long time since we had an album of Getz minus bossa nova trappings and indeed we are still waiting for such an LP, preferably from Stan’s new group with Steve Swallow and Roy Haynes. The Verve set fills a much-needed gap, though the record is quite different from ‘Getz/Gilberto Volume 1’ which had the saxophonist and guitarist playing together. The follow-up presents the Getz quartet and the Gilberto trio in concert at Carnegie Hall on the night of October 9, 1964.
Side one belongs to Getz and the all-too-brief programme comprises a waltz, two ballads and a swinging 12-bar. Stan was in excellent form, particularly on the blues and Rainy Day, a delightful tune that is happily enjoying a lot of currency just now. It goes without saying that Getz is a perfectionist and demands the same uncompromising attitude from his men. In vibist Gary Burton he has found a kindred spirit. Certainly more Getz was taped at this concert than appears here and personally I would have wished for a complete record by the quartet. Instead, the reverse side is devoted to half a dozen pleasant bossa novas by Gilberto. The music has its charms but we have heard it all before and Joao’s flat vocals do tend to become irritating (Um Abraço is a welcome break in this respect, being an especially good trio instrumental). For this reason the LP is somewhat unsatisfactory, despite the top quality of the Getz side. Verve ought to consider making these four tracks into an EP – they would fit on just nicely.
The budget-priced Bravo EP is worth tracking down at your local supermarket. Although Getz does not solo on one selection and no information is given on the sleeve, the music rates highly. Angels and Don’t Worry stem from the first session Stan made under his own name at the age of 19. They were originally done for Savoy and I do not know how they came into Pickwick’s possession. This is the much-discussed session on which Getz exhibits a surprisingly marked Dexter Gordon influence (incidentally, Dexter often used quotations from Angels!).Not only is Getz’ tone close to Gordon’s at the time, but his phrasing and concept are astonishingly like Dexter’s. I have even heard the theory put forward that the saxophonist is Gordon and not Getz at all, but this seems doubtful. At any rate these rarities deserve serious study for Getz, pianist Hank Jones and the young, advanced Max Roach as they were in 1946.
The Blue Rhythm tracks are from a big band date in Hollywood the following year and both feature trumpeter Charlie Shavers and tenorist Lucky Thompson. Getz plays a Parkerish alto solo on the Blues. Somehow this particular edition of the Mills Blue Rhythm Band has not dated a jot. Van Alexander’s imaginative arrangements were far ahead of their day and the section work is crisp and well-rehearsed. Lamond’s unmistakable drumming kicks the band along in great style. Bravo would earn a bravo from me if they now issued the four titles to complete these dates. Namely Opus De Bop, Running Water (’46) and Blue Rhythm Swing, Blue Rhythm Bop (’47). Meanwhile get this without delay. M.G.
Discography
Getz/Gilberto Volume Two
(a) Grandfather’s Waltz; (a) Tonight I Shall Sleep; (a) Stan’s Blues; (a) Here’s That Rainy Day (16¾ min) – (b) Samba Da Minha Terra; (b) Rosa Morena; (b) Um Abraco No Bonfa; (b) Bim Bom; (b) Meditation; (b) O Pato (The Duck) (18¾ min)
(Verve VLP/SVLP 9132 32s.)
Stan Getz
(d) Blue Rhythm Jam; (d) Blue Rhythm Blues – (c) And The Angels Swing; (c) Don’t Worry About Me
(Bravo EP BR-358 4s. 11d.)
(a) Stan Getz (ten); Gary Burton (vib); Gene Cherico (bs): Joe Hunt (d). Carnegie Hall, NYC, 9/10/64.
(b) Joao Gilberto (g); Keeter Betts (bs); Helcio Milito (d). Same date.
(c) Getz (ten); Hank Jones (p); Curley Russell (bs); Max Roach (d). NYC, 31 /7/46.
(d) Mills Blue Rhythm Band: Frank Beach, Chuck Peterson, Charlie Shavers (tpts): Sid Harris. Charles Maxton, Si Zentner (tbns); Eddie Rosa. Clint Neagley (alts); Stan Getz (alt/ten); Lucky Thompson (ten); Butch Stone (bar); Jimmy Rowles (p): Tony Rizzi (g); Arnold Fishkin (bs): Don Lamond (d); Van Alexander (dir, arr). Hollywood, 20/5/47.
