Five-Star Collection... Stan Getz / Bob Brookmeyer

Stan Getz And Bob Brookmeyer

Recorded Fall 1961

Despite what you read in liner notes, an appalling percentage of jazz albums lose their allure over the years. I think particularly of that period in the mid-1950s when the monthly streams (main and others) of jazz releases first began to overflow. Many of the sets issued during those years have become as inactive on most turntables as Paul Whiteman sides without Bix. Yet a few albums of the time have proved durable, and among them were the Verve colloquies between Stan Getz and Bob Brookmeyer. The reason they lasted is that both these jazzmen had already established substantial personal styles that did not feed on fads (cool or funky) and besides, they completed each other so naturally that whole performances resulted, not fragmentary strings of solos.

The first meeting between Getz and Brookmeyer since that period took place in September 1961, while Getz was back in this country to refuel himself through stimulation from American jazzmen. (And also make some money). Since 1958, Getz has been an expatriate in Copenhagen, and while his recordings in Europe have been consistently interesting, they often lacked the level of mutual interaction between Getz and the local sideman that ignites the best of home-brewed recordings. (If this be chauvinism, ask American jazzmen about their experiences with most European rhythm sections).

The lapse of years and distance have not flawed the musical communion between Getz and Brookmeyer, as is evident from the first track on. They interweave lines and fuse rhythmically as if they'd been playing together steadily for a long time. Both, moreover, have a rare capacity for fresh, uncluttered, melodic imagination that is a refreshing relief from dates on which the players beguile themselves — but not always the listener — by the speed with which they can conjugate chord changes. The opener itself was written by Brookmeyer a month or so before the session, and as the title indicates, represents his quixotic conception of what a contemporary, jazz-limned minuet can sound like.

(...)

The rhythm section is one that Getz chose for his club dates on his return to America. John Neves has long been known to musicians who visited Boston in recent years and for a time was an important part of the Herb Pomeroy band there. Steve Kuhn, who also first established a reputation in that area, is an uncommonly imaginative pianist with formidable technique. In the past year, Kuhn has become even more effective as he's learned how to edit his abundance of ideas. Roy Haynes may well be the most taken-for-granted major drummer in jazz. He also been so reliable and resourceful for so long that he doesn't get nearly the degree of attention he merits.

The quintet blends well together, all the more so since each of the five has enough confidence in his own musical way to relax enough to listen to the others. From this kind of shared attitude records are produced that can be replayed long after the polls have changed and rechanged.

*Nat Hentoff (from the liner notes)*

This marks two events, the first recording by Getz since his return to the United States; a reunion with Brookmeyer, his partner of the mid-'50s.

The simultaneous happenings are cause for celebration. Getz and Brookmeyer are mature players, and everything they do on this record is in perfect balance insofar as ingredients required for one style of complete jazz performance are concerned.

The group, exclusive of Brookmeyer, is the one Getz has toured with since spring, 1961. Kuhn is a young pianist who has shown a liking for Bill Evans. He manifests this in several places here but also exhibits things of his own. He fits well in a subtle but driving (when it has to) rhythm section, completed by the strong Neves and the impeccable Haynes.

The three Brookmeyer originals are delightful: Minuet has as infectious a line as I’ve heard in a while, Who Could Care? is a lovely ballad. Thump is an equally engaging composition.

The other material is complementary. Berkeley Square is a beautiful ballad that has not been recorded into the ground, and Buck Clayton's Love Jumped Out is an old Basie feature that has only been done once since the 1930s (Paul Quinichette with a Basie alumni group in the '50s). It also has been some time since we've heard Nice Work. When it's played like this, however, you can enjoy it even if you had just heard several other versions.

There are many good things to be said about the individual merits of Getz and Brookmeyer, but the most important factor in the success of this set is the ease with which these men communicate their thoughts and feelings to the audience. It seems to flow out and by the same token, right in.

*Ira Gitler (Down Beat, February 15, 1962 [5 stars])*

1 - Minuet Circa '61

(Bob Brookmeyer)

2 - Who Could Care

(Bob Brookmeyer)

3 - Nice Work If You Can Get It

(George Gershwin, Ira Gershwin)

4 - Thump, Thump, Thump

(Bob Brookmeyer)

5 - A Nightingale Sang In Berkeley Square

(Manning Sherwin, Eric Maschwitz)

6 - Love Jumped Out

(Buck Clayton)

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

Steve Kuhn (piano), John Neves (bass), Roy Haynes (drums).

Recorded at Nola Recording Studio, New York City, September 12 and 13, 1961