Five-Star Collection... Lester Young

Lester Young

The Jazz Giants '56

Imitation, as a wise man once put it, is never competition. Accordingly, imitation with neither understanding nor technique can bring woeful results to the young musician. To put the theory to test, no other saxophonist has had quite so strong an influence on modern-day tenor saxophonists than Lester Young, otherwise known as the "President". For many saxophonists, however, the influence has not necessarily been a good one, simply because the limitations have been merely surface.

To play a saxophone in the Lester Young manner requires — well, it requires a Lester Young, which is to say an artist with his roots immersed deeply in the mainstream of jazz. Or that failing, a musician with at least a feeling for jazz' muscular, swinging tradition. An error committed so frequently as to become commonplace finds the imitator concerned more with sound than substance.

The Lester Young sound is a very special thing, certainly, and with it is associated a kind of languor, a sophistication that often belies its basic blues foundation. But the guts of the blues — and its purposeful vigor — is also a vital part of the Young style. And without it, without this strength that is suggested rather than expressed boldly, the would-be Lester Youngs create little more than hollow, superficial and often quite banal mimicry.

The imitators could learn considerable from this album, entitled with justification The Jazz Giants '56. For in this one, Lester illustrates more graphically than ever just where the "Lester Young school" has been errant. By no means is this, as they say in the television commercials, a "new" Lester Young, but it is a Lester Young with a stronger approach than has been his very recent custom. The tone remains, lean and cool (in the best sense), but the vigor is unmistakable and the jazz ideas are, as always, fresh and imaginative. *(from the liner notes)*

The Jazz Giants '56 comprise Lester Young, Roy Eldridge, Teddy Wilson, Vic Dickenson, Jo Jones, Freddie Green, and Gene Ramey, and a better-knit assemblage would indeed be hard to conceive. As the notes point out, this is the first time Pres and Roy have recorded together, and for some 20 years, someone has been goofing.

This is one of the records of this or any other year, and it is difficult to imagine a group playing much better than this one gets on You Can Depend on Me. All the good qualities which we usually ascribe to jazz — vitality, swing, ingenuity, rhythmic variety, and impeccable improvisation — are present here. Rest of the tracks are not far below this remarkable level, and it is really unfair to pout out high spots, although the unvarying consistency of Roy and Pres should be mentioned. Especially note Young's opening statement on This Year's Kisses — it contains all the loveliness and feeling for music one could wish. Suffice it to say that this collection belong in any and every library.

The notes err, by the way in stating that Pres and Dickenson never have recorded together before — they appeared on some Philo sides under Pres' leadership a decade ago.

*Jack Tracy (Down Beat, May 30, 1956 [5 stars])*

1 - I Guess I'll Have To Change My Plan

(Arthur Schwartz, Howard Dietz)

2 - I Didn't Know What Time It Was

(Richard Rodgers, Lorenz Hart)

3 - Gigantic Blues

(Lester Young)

4 - This Year's Kisses

(Irving Berlin)

5 - You Can Depend On Me

(Charles Carpenter, Louis Dunlap, Earl Hines)

Lester Young (tenor sax), Roy Eldridge (trumpet), Vic Dickenson (trombone),

Teddy Wilson (piano), Freddie Green (guitar), Gene Ramey (bass), Jo Jones (drums).

Recorded at Fine Sound, New York City, January 12, 1956

Five-Star Collection... Herbie Mann

Herbie Mann Quartet

Flamingo, volume 2

We have been a quartet for three months. Joe Puma, our guitarist, has worked and recorded with Artie Shaw, Louis Bellson, Don Elliott and Chris Connor, and has his own  album on Bethlehem (BCP-1012). He is 28 and from the Bronx. Our bassist is the 26 year-old Chuck Andrus from Holyoke, Massachusetts. He has worked with Terry Gibbs,  Stan Getz and Claude Thornhill and recorded with Johnny Williams. Chuck is studying bass with Philip Sklar of the NBC Symphony. Harold Granowsky, our drummer, is 24  years old and hails from Indianapolis, Indiana. He has worked with Lennie Tristano, Joe Roland and Charlie Barnet.

We started planning this album two months ago, carefully selecting each tune and then treating each one individually, utilizing the various colorings and shadings the group could produce.

I’ve had the idea for quite a while to get sort of a "Four  Brothers-type" sound with three flutes and alto flute, instead of three tenors and baritone sax. Joe (Puma) arranged "I've Told Ev'ry Little Star" on which I played all four flute parts (sounds like the Four Brothers before their voices changed!). *Herbie Mann (liner notes)*

One of the best of the jazz flutists, Herbie Mann, has here produced the most varied jazz flute album to date. His close, tasty support comes from bassist Chuck Andrus, guitarist Joe Puma, and drummer Harold Granowsky. Herbie wrote the first three originals; Quincy Jones did the blues waltz, Jasmin; Mann is responsible for Beverly, and the last tune is Puma's. On all except the tenor tribute to Cohn, Herbie plays flute and alto flute, and on two numbers, he plays four flute parts via tape. On Beverly, he’s heard on flute unaccompanied.

What makes this session outstanding is Mann's lyrical musicianship and his assuredness with the flute, a difficult instrument to swing and to otherwise manipulate in the jazz idiom. There is also Mann's unusually wide-ranged personality which makes him equally convincing in happy whimsy, sorrowful ballads, hopeful ballads, swingers, the Villa-Lobos-inspired Sorimao, and even a blues waltz. He also writes well, as particularly evidenced by Sorimao, One Way Love, and Beverly. The notes are by Mann and are so much more helpful and concise that the work of some of the "professional" writers Bethlehem has been using. The up-tempo numbers in this set, by the way, would be a fine way to introduce youngsters to jazz. Oldsters, too.

*Nat Hentoff (Down Beat, November 16, 1955 [5 stars])*

1 - I've Told Ev'ry Little Star

(Jerome Kern, Oscar Hammerstein II)

2 - Love Is A Simple Thing

(Arthur Siegel, June Carroll)

3 - There's No You

(Tom Adair, Hal Hopper)

4 - Sorimao

(Herbie Mann)

5 - The Influential Mr. Cohn

(Herbie Mann)

6 - A One Way Love

(Herbie Mann)

7 - The Surrey With The Fringe On Top

(Richard Rodgers, Oscar Hammerstein II)

8 - Flamingo

(Ted Grouya, Edmund Anderson)

9 - Little Orphan Annie

(Gus Kahn, Joe Sanders)

10 - Jasmin

(Quincy Jones)

11 - Beverly

(Herbie Mann)

12 - Woodchuck

(Joe Puma)

Herbie Mann (flute, alto flute, tenor sax), Joe Puma (guitar),

Charles Andrus (bass), Harold Granowsky (drums).

Recorded in New York City, June, 1955

Five-Star Collection... The Swinging Swedes

The Swinging Swedes • The Cool Britons

New Sounds From The Old World

This LP disc is unique in several respects. For the first time on any record, it presents a compact and complete picture of the best in modern jazz from the two European countries that have taken an undisputed lead, over all others outside the United States, in developing first-class talent in this field. For the first time it combines in one comprehensive LP the best in writing, in thinking and performing, that the brilliant young stars of Great Britain and Sweden have given the jazz world.

Every musician on Summertime, Pick Yourself Up and the double-length Cream of the Crop was selected, in a poll taken by Estrad magazine among 25 Swedish music critics, as the No. 1 man on his instrument — and the superb arrangements were the work of the No. 1 penman, Gösta Theselius, whom we hailed in Down Beat as the most brilliant new arranger on the jazz scene, irrespective of country.

(...)

No less remarkable is the swinging spirit of the all-star British groups under the leadership of Johnny Dankworth. Born in London in 1927, Johnny extracts his mellifluous tone and modern style from a plastic saxophone, an idea that has since been copied by several top American jazzmen. On the first two tunes, Birdland Bounce, Leapin' in London, Johnny conducts the winners of a poll conducted among readers of the English weekly Melody Maker, playing two of his own arrangements. The other two numbers, Tea for Me, Cherokee, are played by Johnny with his own combo, which was elected the country's No. 1 small band in the poll.

(...)

All in all, the performances in this double-header might well be described by one of the Swedish titles; they are, in every respect, the cream of the crop. *Leonard Feather (liner notes)*

New Sounds from the Old World is the apt title of this LP, which puts the best British and Swedish jazz back to back.

British titles are eloquent testimony to the triple talents of Johnny Dankworth, as alto man and arranger on all four sides, leader of the bigger group of Melody Maker poll winners on the first two numbers and of his own award-winning combo on the last pair. They also show off a fine trumpet man, Jimmy Deuchar, Ronnie Scott's tenor, several other confident soloists, and rhythm section work that's most effective on Bounce, the best item of the bunch.

We've already saluted the Swedes' Summertime and Pick, released as a single. The six-minute Crop is no less impressive. Theselius wrote a fascinating 12-bar theme and intermittent flashes of arrangement that break up the solo passages admirably but leave plenty of room for everyone to expound at length: Ericson's trumpet, Persson's trombone, Wickman's clarinet, Domnerus' alto, Norin's tenor, Gullin's baritone, Linde's vibes, Hallberg's piano, Carlberg's guitar, and, backing them all beautifully, Brehm's bass and Norén's drums. We've heard hundreds of Scandinavian sides, and to our knowledge this was the most successful date ever cut by the Swedes. Don’t miss it.

*Down Beat, Chicago, March 25, 1953*

Note: At the time of this review, the magazine did not identify the author. They only expressed: “Records in this section are reviewed and rated in terms of their musical merit.” In this case, the five stars went to The Swinging Swedes. The Cool Britons received only four stars.

Side 1

The Swinging Swedes

1 - Pick Yourself Up

(Jerome Kern, Dorothy Fields)

2 - Summertime

(George Gershwin)

3 - Cream Of The Crop

(Gösta Theselius)

Side 2

The Cool Britons

4 - Birdland Bounce (a.k.a. Brand's Essence)

(Traditional, arr. Johnny Dankworth)

5 - Leapin' In London (a.k.a. Marshall's Plan)

(Traditional, arr. Johnny Dankworth)

6 - Tea For Me (a.k.a. Seven Not Out)

(Johnny Dankworth)

7 - Cherokee

(Ray Noble)

#1, #2, #3:

Rolf Ericson (trumpet), Åke Persson (trombone), Putte Wickman (clarinet),

Arne Domnérus (alto sax), Carl-Henrik Norin (tenor sax), Lars Gullin (baritone sax),

Ulf Linde (vibes), Bengt Hallberg (piano), Sten Carlberg (guitar),

Simon Brehm (bass), Jack Norén (drums).

Recorded in Stockholm, Sweden, September 5, 1951

#4, #5:

Kenny Baker (trumpet), Gordon Langhorn (trombone), Henry McKenzie (clarinet),

Ronnie Chamberlain (soprano sax), Johnny Dankworth (alto sax), Ronnie Scott (tenor sax),

Dave Shand (baritone sax [#4]), Victor Feldman (vibes), Ralph Sharon (piano),

Ivor Mairants (guitar), Charlie Short (bass), Jack Parnell (drums).

Recorded in London, England, February 3, 1951

#6, #7:

Jimmy Deuchar (trumpet), Eddie Harvey (trombone), Johnny Dankworth (alto sax),

Don Rendell (tenor sax), Bill LeSage (piano), Eric Dawson (bass), Tony Kinsey (drums).

Recorded in London, England, July 29, 1950

Five-Star Collection... Thomas Talbert

Thomas Talbert

Bix • Duke • Fats

Leon Beiderbecke, Edward Ellington and Thomas Waller were three card-holding musicians, getting their money every Friday, playing a cornet and a couple of pianos, and writing their compositions. They are known in the jazz world's casual I-want-to-be-one-of-the-gang style, as Bix, Duke and Fats. Where the aficionados gather, no further identification is necessary. Bix did most of his writing in the latter twenties. Fats swung right up to his death in 1943. Some of his last work, written for the show, Early To Bed, was his best. Duke Ellington is still very much on the scene and working constantly. The thirties and early forties were a highly creative period for him.

(...)

Fats led a small group of good men. They were mainly a foil for his contagious, exuberant and slyly humorous personality. Bix worked through the Midwest with many small combinations. He played in Gene Goldkette’s bands. Except for recording with small pickup groups, he played his last years with Paul Whiteman. It is said that Henry Busse received the larger share of the hot chair parts. Duke Ellington has been a leader from the beginning, composing and arranging for his own band in prolific quantity.

But they all worked the country's saloons where jazz grew up. This is a world apart from the Broadway, West End or Hollywood composer who has only the current show on his mind. And with the lyricist to carry the day if the tune goes false. They were right in the midst of the instruments that were making the pulse that jazz is all about. And there's the tie-in for an album such as this. Three styles, yes... but all stemming from the same background. *Thomas Talbert (liner notes, 1956)*

The world has changed so much since this music was recorded but the beauty of the compositions has remained constant. I spent a lot of time selecting the material for the album and then the arrangements were written in four late summer weeks. Bond Street, the first, was  finished August 19 and the last, Orange Bright on  September 13. The final recording, the  Ellington tune with ten men, was September 14. There was an individual session for each composer as I used a different instrumentation to enhance how I heard each of their voices.

I remember the warm fall evening, after the Beiderbecke session, as my friend and copyist George Green and I walked west on Forty-second Street. It was not as bizarre a  locale then and we were going to meet Joe Wilder at Dixon's on Eighth Avenue for an early dinner. I was filled with satisfied accomplishment as we quietly spoke of the chamber-music recording challenge and of Joe's marvelous playing. It was a good day and the Wilder solos still soar.

They all did. What a joy it is for an arranger to have his writing, his  dream, played with such verve and empathy. New York had a shine on it in the '50s and it was exhilarating to be part of it.

*Thomas Talbert (liner notes, 1993)*

This is a stunning piece of work by all concerned. Talbert's writing is fresh and moody, and the performances, particularly the solo work, are firstrate.

There is a smooth blend of the horns, spiced by some bright brass figures, in the arranged passages. As for the solos, it's difficult to describe them without using hand motions or including a copy of the record in the magazine.

Wilder emerges as a trumpet man of stature and delicacy. His taste and flexibility are particularly evident on the Beiderbecke pieces, Mist, Candlelight, and Dark. Galbraith also is heard soulfully on the Bix tracks. Cleveland and Bert split the trombone solo spots, with Jimmy percussively exciting and Bert blowing warmly and with restraint.

The Talbert original, Green Night, is a moody, impressionistic work with actually none of the flavor of the three men to whom homage is paid by this album, but rather a logical extension of the mood created by the compositions.

This album is no tribute in style to Bix, Fats, and Duke. Rather, it is a collection of creations based on their works, The closest to a literal reading is Duke's Koko, which smacks of period Ellington in the rich opening ensemble prodded by Pettiford's throbbing bass.

One final word should be said about Wallington, whose presence is a vital thing, and whose solos and fills are a delight to hear.

Packaging is handsome, with the cover perhaps the most attractive jazz cover presented in many months. Talbert's notes are literate and illuminating, a fine argument for having musicians or leaders write the words about their music.

This is a great record, conceived and executed with taste and artistry.

*Dom Cerulli (Down Beat, June 27, 1957 [5 stars])*

1 - Clothes Line Ballet

(Fats Waller)

2 - In A Mist

(Bix Beiderbecke)

3 - Bond Street

(Fats Waller)

4 - Prelude To A Kiss

(Duke Ellington, Irving Gordon, Irving Mills)

5 - Green Night & Orange Bright

(Thomas Talbert)

6 - Black And Blue

(Fats Waller, Andy Razaf, Harry Brooks)

7 - Candlelights

(Bix Beiderbecke)

8 - Keepin' Out Of Mischief Now

(Fats Waller, Andy Razaf)

9 - In The Dark

(Bix Beiderbecke)

10 - Do Nothin' Till You Hear From Me & Ko-Ko

(Duke Ellington, Bob Russell) & (Duke Ellington)

Thomas "Tom" Talbert (arrangements, conductor)

#1, #3, #6, #8:

Joe Wilder, Nick Travis (trumpets); Eddie Bert, Jimmy Cleveland (trombones);

Aaron Sachs (tenor sax, clarinet); George Wallington (piano);

Oscar Pettiford (bass); Osie Johnson (drums).

Recorded in New York City, August 24, 1956

#2, #7, #9:

Joe Wilder (trumpet), Jim Buffington (french horn), Joe Soldo (flute),

Danny Bank (clarinet, bass clarinet), Harold Goltzer (bassoon), Barry

Galbraith (guitar), Oscar Pettiford (bass), Osie Johnson (drums).

Recorded in New York City, September 7, 1956

#4, #5, #10:

Joe Wilder (trumpet), Eddie Bert (trombone), Jim Buffington (french horn),

Herb Geller (alto sax), Joe Soldo (alto sax, fute), Aaron Sachs (tenor sax, clarinet),

Danny Bank (baritone sax, bass clarinet), Claude Williamson (piano [#5]),

Barry Galbraith (guitar), Oscar Pettiford (bass), Osie Johnson (drums).

Recorded in New York City, September 14, 1956

Stan Getz: Completing his "Interpretations"

Stan Getz Quintet

Interpretations #3

When the first two "Interpretations" albums by the Stan Getz quintet proved so successful, the next step obviously was to follow the pattern and this — as you must have 

gathered by now — was indeed done. What gave the first two "Interpretations" their standout quality, most critics agreed, was the unity of the five musicians as well as the topflight musicianship of all concerned. There is especially solid rapport between the two featured soloists — Stan Getz, tenor saxophone, and Bob Brookmeyer, trombone, and one of the reasons for this could be the year which Brookmeyer spent with the Getz unit in 1953. This was a highly profitable year for both in terms of musical growth. ("The only way you learn", Getz once said, "is by playing with the best — so that there's always two challenges; first, your own inner challenge and then the feeling of being spurred by men who swing in your own outfit".) Getz, of course, has long been regarded as one of the foremost tenor men in modern jazz, a suspicion which first took hold strongly when he (with Zoot Sims, Serge Chaloff and Herbie Steward) provided Woody Herman with the "Four Brothers" sound. It was Getz whose solo gave much meaning to Herman's recording of the Ralph Burns composition, "Early Autumn". Since then he has been occupied largely with leading his own group, in most cases a quintet. *(From the liner notes)*

Interpretations by  the Stan Getz Quintet #3, apparently was made a couple of years ago with Bob Brookmeyer, John Williams, Bill Anthony, and Frank Isola. Getz is forceful and inventive, and Brookmeyer is an individual and sustainedly imaginative as usual. Also an asset are the slashing solos of Williams. A liability is the too chunky rhythm section which could flow a good deal more, particularly in the case of Isola. *Nat Hentoff (Down Beat, August 8, 1956 [4 stars])*

Sublime early work from Stan Getz — a lyrical genius even at this early point in his career! There's a subtle brilliance here that's undeniable — a tenor sound that draws from Lester Young and Ben Webster, but which pushes into fresh new territory for the 50s — lean, but still very soulful at the core — a blend that none of Stan's contemporaries could ever match this well! The album features a group that includes a very young Bob Brookmeyer on valve trombone, plus rhythm by Teddy Kotick, John Williams, and Frank Isola. Tracks are longish and easily swinging — and Getz's tone, as always, makes the whole thing come together like magic! Titles include "Oh Jane Snavely", "The Varsity Drag", "It Don't Mean A Thing", and "I'll Remember April". *Dusty Groove, Inc.*

1 - It Don't Mean A Thing (If You Ain't Got That Swing)

(Ellington, Mills)

2 - The Varsity Drag

(DeSylva, Brown, Henderson)

3 - Give Me The Simply Life

(Bloom, Ruby)

4 - I'll Remember April

(Raye, DePaul, Johnston)

5 - Oh, Jane Snavely

(Brookmeyer)

Stan Getz (tenor sax), Bob Brookmeyer (valve trombone),

John Williamson (piano), Teddy Kotick (bass), Frank Isola (drums).

Recorded in Los Angeles, California, August 22 (#1) and July 27 (#2), 1953;

November 24 (#3, #4, #5), 1954

Five-Star Collection... Stan Getz

Stan Getz Quintet

Interpretations #1 

It's a strange thing about jazz, but the inner circle of the giants of jazz never seems really to widen very much. Its exclusivity, based upon talent and the durability of that 

talent, rarely admits to the newcomer in the jazz world. Musicians like Goodman, Tatum, Hawkins, Hodges, Young, Ellington, Basie, Carter, and Armstrong, can rarely be pushed aside to allow room for a new face. Recently Parker has made the inner circle, and before that, Eldridge and Gillespie, and possibly one or two others that I haven't mentioned, but I think you see my point.

In the past few years Stan Getz has been the most likely candidate for being pledged to this group, and like all pledges, has had to prove himself doubly. I think that the time will arrive very soon where Getz can be accorded full membership in this group.

It is a truism that it is impossible to separate an artist and his playing hours from the man in his non-playing hours. How the artist represents or conducts himself, his attitude towards society about him and to life in general, are all reflected in his artistry. This is particularly true about Getz. He has a good deal of the schooled and finished musician about him, and that can be seen and heard in the execution of his instrument and in the flow of his musical ideas. Yet, there is something equally immature and undeveloped in the poignancy of his playing, in his tone, and in his very "sound". He literally, in many things, cries, and in that I think he reflects not only himself and his own feelings, but sometimes, society as a whole. Thus, when his playing lacks a certain vigor, it's not because of the lack of musical ability, but rather the weakness of the man, and this, curiously, gives him a different sound and makes him different from his fellow artists in jazz. Jazz, after all, is one of the arts where the interpreter mirrors his own inner feelings and in a sense comments on his relationship to the world around him. You may not like what he has to say, or even how he says it, but I think you will find that Stan Getz's comments on life are interesting in any event.

*Norman Granz (liner notes)*

One of the most distinguished jazz chamber music collections of the year. Stan is joined by Bob Brookmeyer and a  wonderful rhythm section of Teddy Kotick, Frank Isola, and Johnny Williams (rapidly becoming one of the major young pianists). The quality and quantity of easeful invention on these sides is exceptional.

Brookmeyer did the arranging and wrote the original. These are among Bob's best records so far, and the same can be said of Getz. I recommend the candid, perceptive essay on Getz by Norman Granz in the notes. The future is now up to Stan — he is youn enough to evolve as a person and if he can do that, his already high stature as a musician can grow to heights not even he quite realizes. My one gratuitous regret about Brookmeyer is that so creative a musician is presently being expended in the rocking chair exercises of the Mulligan quartet.

*Nat Hentoff (Down Beat, July 14, 1954 [5 stars])*

Stan Getz Quintet

Interpretations #2

There is not much that can be said about this "Interpretations" album by the Stan Getz Quintet that I did not adequately cover in the first volume of this series. At that time I commented that Getz had won all the polls for more years than I can recall as the best tenor saxophonist; he has been accorded by critics, 

and possibly more importantly, by the public itself, a permanent, important niche in the history of jazz, and his playing has that necessary consistency of high quality which must be identified with a great artist. 

Factually, his accompanists in this album are: Bob Brookmeyer on Trombone; John Williamson on Piano; Teddy Kotick on Bass; and Frank Isola on Drums. The tunes you will hear are: "Fascinatin’ Rhythm", "Minor Blues", "I Didn’t Know What Time It Was", and "Tangerine".

*Norman Granz (liner notes)*

This is Volume 2 of Norgran's Stan Getz quintet series (with Bob Brookmeyer, John Williams, and Teddy Kotick). The same is true of this as of the first volume (Down Beat, July 14). It is consistently "distinguished jazz chamber music". Everyone blows well and the set is well recorded. The one original, a good one, is Brookmeyer's. Package is factory sealed and there's a fine cover portrait of poll-winner Getz. *Nat Hentoff (Down Beat, January 12, 1955, 1954 [5 stars])*

Stan Getz

Stan Getz Quintet

Interpretations #2 (+ #1)

The Poll Winners label is devoted to the reissue of albums that received the maximum 5-Star review ratings in the iconic jazz magazine, DownBeat, this release contains the two complete 10" LPs titled Interpretations (Norgran MGN1000 and MGN 1008) by the Stan Getz Quintet, which were the frst long-play discs issued by Norgran, a Los Angeles label own by Norman Granz Include in this issue are three bonus tracks, master takes from the same sessions and with the exact same quintet.

During the 1950s Stan Getz occasionally worked with trumpeters Dick Sherman, Tony Fruscella, Conte Candoli or Chet Baker but his most regular associate at that time was Bob Brookmeyer. They worked extensively at Boston's Hi-Hat as well as Zardi's and The Tiffany in Los Angeles and their quintet was one of the most inventive small groups of the era.

Jimmy Giuffre said in a 1961 Downbeat article "That band is my favorite of all the jazz groups I've ever heard". Years later Bob Brookmeyer was surprised when I mentioned this to him – "Jimmy said that? Bless him".

Their work together has been constantly reissued and 20 years ago Definitive Records released "The Complete 1953-1954 Quintet Studio Recordings". Definitive made the bizarre decision to highlight Brookmeyer as the leader, which would surprise Bob and Stan if they were still around. There was also a live performance from November 1954 which found the quintet at its very best – "Stan Getz At The Shrine".

Interpretations #2 and #1 is a fine example of what the quintet had to offer. It benefits from the presence of John Williams, who was one of the finest pianists of his generation. He had a highly rhythmic approach to accompaniment, reminiscent of Horace Silver, but sadly he dropped out of the jazz scene in the late 50s. His good friend Frank Isola was a sympathetic drummer with a light touch that was perfect for the quintet, but just like Williams his stay in the jazz spotlight was a brief one. His last recording was on Mose Allison's Back "Country Suite" in 1957.

The horns are, of course, in fine form, drawing inspiration from the contrapuntal exchanges that were such a notable feature of their work together. *Gordon Jack (jazzjournal.co.uk)*

1 - Minor Blues

(Bob Brookmeyer)

2 - Fascinatin' Rhythm

(George and Ira Gershwin)

3 - I Didn't Know What Time It Was

(Richard Rodgers, Lorenz Hart)

4 - Tangerine

(Johnny Mercer, Victor Schertzinger)

5 - Love And The Weather

(Irvin Berlin)

6 - Spring Is Here

(Richard Rodgers, Lorenz Hart)

7 - Crazy Rhythm

(Irvin Caesar, Roger Kahn, Joseph Mayer)

8 - Willow Weep For Me

(Ann Ronell)

9 - The Nearness Of You

(Hoagy Carmichael, Ned Washington)

10 - Pot Luck

(Johnny Mandel)

11 - It Don't Mean A Thing

(Duke Ellington, Irving Mills)

12 - The Varsity Drag

(Lew Brown, B. G. De Sylva, Ray Henderson)

13 - Pot Luck (single version)

(Johnny Mandel)

#1 to #-4: from Interpretations #2 (Norgran MGM 1008)

#5 to #10: from Interpretations #1 (Norgran MGM 1000)

#11 and #12 : from Interpretations #3 (Norgran MGM 1029)

Stan Getz (tenor sax), Bob Brookmeyer (valve trombone),

John Williamson (piano), Teddy Kotick (bass), Frank Isola (drums).

Recorded in Los Angeles, California, August 15 (#1, #2, #8),

August 22 (#3, #4, #9, #10, #11, #13) and July 27 (#5, #6, #7, #12), 1953