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