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