Getz at the gate
| Getz at the gate | ||||
|---|---|---|---|---|
| Live album by Stan Getz | ||||
|
Publication |
||||
| Label (s) | Verve Records | |||
|
Format (s) |
2 CD |
|||
|
Title (number) |
16 |
|||
|
running time |
1:19:06 |
|||
| occupation |
|
|||
|
Ken Druker, Richard Seidel , Zev Feldman |
||||
|
||||
Getz at the Gate (Live at the Village Gate, Nov. 26, 1961) is a jazz album by Stan Getz and his quartet, consisting of Steve Kuhn (piano), John Neves (bass) and Roy Haynes (drums). The recording was made during a performance on November 26, 1961 at The Village Gate jazz club , New York City. The recordings were released on June 14, 2019 on Verve Records .
background
After living in Denmark for two and a half years, Stan Getz returned to the USA at the beginning of 1961 “to experience a changing jazz world,” wrote Chris May. “ Ornette Coleman carried the torch of free jazz , Miles Davis had modal jazz in the Mainstream ”and John Coltrane had broken away from Sonny Rollins to become the preeminent tenor saxophonist on the New York scene. Getz recognized, May continued, “that he couldn't just pick up where he left off if he wanted to keep his place at the top. He didn't want to become a modal or free jazz player, but he was ready to recalibrate himself a little. "
Stan Getz had initially played at studio appointments for Verve with several quartet formations in early 1961; with Victor Feldman , Sam Jones and Louis Hayes (February 20). The following day Getz put together a new quartet line-up consisting of pianist Steve Kuhn, who had briefly been a member of Coltrane's quartet in 1960, bassist Scott LaFaro , who had just left Coleman's band, and drummer Roy Haynes, with Getz first Had worked together in the 1940s. Getz took the group to the Village Vanguard in March 1961 for his New York comeback . A review in The New York Times reported that Getz was "a far more daring musician" than when he last appeared in town. The quartet played an acclaimed set at the Newport Jazz Festival in July . Tragically, bassist La Faro was killed in a car accident four days later.
On November 11th and 18th, 1961, Getz made guest appearances with Kuhn, Jimmy Garrison and Roy Haynes at the Birdland jazz club in New York , shortly afterwards at the Village Gate. Bassist John Neves joined the quartet for Garrison. With him, Steve Kuhn, Roy Haynes and the valve trombonist Bob Brookmeyer , Getz had already recorded the studio album Recorded Fall 1961 (Verve) in September before the recordings in the Village Gate were made (but without Brookmeyer). "Despite their quality, Recorded Fall 1961 , Focus and Getz at the Gate were overtaken by the events," wrote Chris May. In early 1962, the recordings of Getz's Bossa Nova debut Jazz Samba (Verve, 1962) appeared; because of the great success of this music, Getz's other projects were suspended. Recorded Fall 1961 and Focus dropped out of the label's promotion program, Getz at the Gate was now forgotten in the archives. The album was first released in June 2019.
Music of the album
Getz at the Gate's set lists are largely taken from the Great American Songbook , with which Getz made a name for himself; there were also several jazz standards - Gigi Gryce's "Wildwood", " Woody 'n' You " by Dizzy Gillespie and Sonny Rollins' "Airegin". The show ends with a juxtaposition of early modernism - " 52nd Street Theme " by Thelonious Monk and a nod to Lester Young , Getz 'greatest influence, with a blues-soaked "Jumping with Symphony Sid".
Track list
- Stan Getz: Getz at the Gate (Live at the Village Gate, Nov. 26, 1961) (Verve UCCV-1175/6)
- CD 1
- Announcement By Chip Monck 0:26
- It's Alright With Me ( Cole Porter ) 7:49
- Wildwood ( Gigi Gryce ) 9:20
- When the Sun Comes Out ( Harold Arlen , Ted Koehler ) 6:20
- Impressions ( John Coltrane ) 11:50
- Airegin ( Sonny Rollins ) 8:35
- Like Someone in Love ( Jimmy Van Heusen , Johnny Burke ) 9:45
- Woody 'N You ( Dizzy Gillespie ) 8:29
- Blues (Stan Getz) 10:23
- CD 2
- Where Do You Go? ( Alec Wilder , Arnold Sundgaard ) 5:02
- Yesterday's Gardenias ( Dick Robertson ) 8:19
- Stella by Starlight ( Ned Washington , Victor Young ) 7:25
- It's You or No One ( Jule Styne , Sammy Cahn ) 9:01
- Spring Can Really Hang You Up the Most ( Fran Landesman , Tommy Wolf) 6:58
- 52nd Street Theme ( Thelonious Monk ) 14:18
- Jumpin 'with Symphony Sid ( Lester Young ) 14:58
reception
Chris May wrote in All About Jazz that Getz at the Gate was (after Moments in Time ) “another important addition to Getz's catalog”. Getz's readings of the material “range from lush and intimate to wild and pounding melodies to improvised melodies that are as beautiful as the melodies in which they are grounded. A great reading of Harold Arlen's 'When the Sun Comes Out' is one of the highlights, ”says the author. The most unusual of the tracks is "Impressions", the melody that John Coltrane had reworked from Miles Davis '" So What " (from Davis' album Kind of Blue , 1959). It would have been fascinating to hear Getz play Coltrane's play, but disappointingly, he skips the number; it is a trio feature for Steve Kuhn, who performed it as a member of Coltrane's band. As for rarities, Getz at the Gate contains the only known Getz recordings of “52nd Street Theme” by Thelonious Monk , “It's Alright with Me” by Cole Porter and “Yesterday's Gardenias” by Dick Robertson . Getz At The Gate has a few lengths in the form of a few too many bass solos, criticizes May. "But that was the little gig paradigm of the time," the author sums up. "Getz is consistently in excellent shape and you can't get enough of it."
Thom Jurek awarded the album four (out of five) stars in Allmusic ; In his opinion, the influences of the new musical directions - observed by Getz from Europe - which would then have vanished again with Focus and Jazz Samba . According to Jurek, the recordings contained “every note of the quartet's scorching performance in New York. Getz's rich tone, his solos and his driving rhythmic striving are presented early on in a stormy, bop-like reading of Cole Porter's 'It's Alright with Me'. "According to Jurek, Getz and his band also showed their muscles in semi-modernism ", For example in Coltrane's" Impressions "and Sonny Rollins'" Airegin ". But swing is not neglected, according to the author, Getz brings it to bear on the first set in lively interpretations of Van Heusen's / Burke's “Like Someone in Love” and Gigi Gryce's “Wildwood”. A flaming reading of Dizzy Gillespie's “Woody'n You” shows Steve Kuhn's breathtaking play. One of the highlights in the second set, in the author's opinion, is "a silky version of the ballad highlight 'Spring Can Really Hang You Up The Most'"; it is one of the saxophonist's most animated performances. The sound of Getz at the Gate is warm, full and crystalline; this concert was an important discovery, sums up Jurek; "It illuminates a historically opaque, musically adventurous period in Getz 'career that shows the path not taken."
.jpg)
According to Colin Fleming ( JazzTimes ), "every newly discovered vintage live tape by Stan Getz [...] has to face impressive competition". With this band (Fleming emphasizes above all Roy Haynes' achievement to drive the band) Getz plays fast-paced; Getz is "a postbop man who wants to do bebop , you could say". It rips through “Airegin”, its tone like an advancing gust through a wind tunnel; in “Wildwood”, however, Kuhn provides the piano background for Getz's tumbling cadences. “When the Sun Comes Out” unfolds with the effortless ease of a Chopin ballad, which of course doesn't feel so light, but is firmly anchored in the corner of nature as a kind of musical . A lot has been made of Getz's “ Lester Young isms”, says the author, “but to put it in football terms, he's more of a guy who is in a hurry - at least this night. Young let his moments sink in and waited for gaps to develop in the music in which he would then shape his identity, cool as you like, but Getz blew the horn as if his notes were punching holes in the air. "
Kevin Whitehead said on National Public Radio that Getz sounds like he has something to prove, and mentions the background of these recordings: Three weeks earlier, John Coltrane had played an explosive set at Village Vanguard ( Coltrane "Live" at the Village Vanguard ). Then The New Yorker brought up a big story about the eagerly anticipated return of "Tenor Colossus" Sonny Rollins after a two-year hiatus. These were Getz's contemporaries, but since he had started recording earlier, at a time when things were changing rapidly, he could now look old-fashioned. With At the Gate , Stan Getz tried to push back this notion, according to the author. It is hard to exaggerate what a great tenor saxophonist Stan Getz was because nothing about his style is out of date. “He had a light, beautiful tone that could convey great tenderness. [...] And as an improviser he had an enviable melodic imagination. His role model Lester Young is known for saying that a good solo has to tell a story. And Getz could tell a story ”, so Whitehead using the example of Harold Arlen's ballad“ When The Sun Comes Out ”. Using the example of the “52nd Street Theme”, pianist Steve Kuhn shows that he could also play in the linear bebop language.
According to George W. Harris (Jazz Weekly), at the time of the recording, Getz is in his post-swing phase, in West Coast cool mode and ahead of his bossa nova popularity. Harris emphasizes the achievements of Kuhn and Haynes, the two alumni of John Coltrane, who, together with Neves, show their loyalty, step out as Getz and interpret the trio wildly and haunted "impressions" of their former employer. This is twelve minutes of “volcanic lava!” Haynes gets a spotlight time for a snappy solo on “52nd Street Theme”.
Individual evidence
- ↑ a b c d e Chris May: Getz at the Gate (Live at the Village Gate, Nov. 26, 1961). All About Jazz, May 19, 2019, accessed December 7, 2019 .
- ↑ a b Tom Lord The Jazz Discography (online, accessed December 6, 2019)
- ↑ a b Review of Thom Jurek's album at Allmusic (English). Accessed December 1, 2019.
- ^ The Stan Getz Quartet: Getz at the Gate (Live at the Village Gate, Nov. 26, 1961)
- ^ Colin Fleming: Stan Getz: Getz at the Gate (Verve). JazzTimes, September 2, 2019, accessed December 7, 2019 .
- ↑ Kevin Whitehead: Saxophonist Stan Getz Delivers A Barrelful Of Tenor On 'Getz At The Gate'. National Public Radio, June 17, 2019, accessed December 7, 2019 .
- ↑ George W. Harris: DOES IT GET ANY BETTER THAN THIS?!? Stan Getz: Getz at the Gate (Live At The Village Gate). Jazz Weekly, June 10, 2019, accessed December 7, 2019 .