Moments in Time
| Moments in Time | ||||
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| Live album by Stan Getz | ||||
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Publication |
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admission |
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| Label (s) | Resonance Records | |||
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Format (s) |
CD |
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Title (number) |
8th |
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running time |
1:04:36 |
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George Klabin, Zev Feldman |
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Location (s) |
Keystone Korner , San Francisco |
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Moments in Time is a jazz album by Stan Getz , which was recorded from May 11 to 16, 1976 at the Keystone Korner jazz club in San Francisco and released on February 19, 2018 on Resonance Records .
background
In May 1976 the saxophonist Stan Getz appeared for a week at the Keystone Korner; every night was split in two. Getz played the first set with his quartet with pianist Joanne Brackeen , bassist Clint Houston and drummer Billy Hart . For the second set, the Brazilian guitarist and singer João Gilberto , with whom Getz had already recorded the Verve album Getz / Gilberto , one of the most successful LPs of the American bossa nova wave, joined in. To celebrate the release of Getz's reunion album with João Gilberto, The Best of Two Worlds , the saxophonist booked a week for shows at Keystone, supported by his quartet and supplemented by Gilberto.
After an introduction, the quartet performs Harry Warren's “Summer Night” as a mid-tempo hard bop . In preparation for Gilberto's performance, the group offers an airy version of Antonio Carlos Jobim's samba 'O Grande Amor'. The program also includes soul jazz ( Kenny Wheeler's “The Cry of the Wild Goose”, in which Billy Hart drops funk beats), a ballad ( Horace Silber's “Peace”) and Latin bop (12 minutes by Dizzy Gillespies) "Con Alma"), an interpretation of Duke Ellington's " Prelude to a Kiss " and Jimmy Rowles ' "Morning Star". Getz faces a rhythm group made up of musicians who were all decades younger and who would later work independently as a trio under the pianist Joanne Brackeen, wrote Derek Taylor.
In 2012, Resonance producers Zev Feldman and George Klabin reached out to former Keystone owner Todd Barkan to sift through his extensive collection of recordings from the club and came across the Getz tapes. As a result of this research, Resonance released two albums four years later, one with the quartet and the other with Gilberto ( Getz / Gilberto '76 ). The edition contains liner notes by producer Zev Feldman, Keystone Korner owner Todd Barkan and interviews with band members Billy Hart and Joanne Brackeen, supplemented by statements by saxophonists Branford Marsalis and Joshua Redman .
Joanne Brackeen speaks in an interview with Feldman about playing with Getz:
- “I think that it actually shows the quartet from its best side, that we became and stayed fast. And he really had to dare to hire us. He already had his thing. He was already famous. He didn't have to have this band. And this band was crazy! I mean, we'd do anything we could. We weren't just there as accompanists ... And then you can hear him playing on it, it's so lyrical. He doesn't play a note that he doesn't mean. At any time. I think that's the only thing I would say about him that was so unique to me. And he talked like that when he spoke. "
Track list
- Stan Getz: Moments in Time (Resonance HCD-2020)
- Summer Night ( Al Dubin , Harry Warren) 9:18
- O Grande Amor (Antônio Carlos Jobim, Vinícius de Moraes ) 6:50
- Infant Eyes (Wayne Shorter) 7:50
- The Cry of the Wild Goose (Kenny Wheeler) 8:31
- Peace (Horace Silver) 5:09
- Con Alma (John Birks Gillespie) 12:22
- Prelude to a Kiss ( Irving Gordon , Edward Kennedy Ellington II, Irving Mills ) 5:38
- Morning Star ( Johnny Mercer , Jimmy Rowles ) 8:58
reception
Steve Greenlee said in JazzTimes that Moments in Time offered a nice, varied program, which undoubtedly represented a typical set of Getz's engagement at Keystone Korner this week. “Getz is top here, his tenor exudes both emotional warmth and west coast coolness. In the first number, 'Summer Night', Getz played his solos for a few minutes with muscles and brackeen drove him to an extended, tireless tumult in the middle part of the nine-minute song. Jobim's samba 'O Grande Amor' shows Getz 'smooth lines and Hart's easy-going rhythm. Getz then plays Wayne Shorter's 'Infant Eyes' with his restrained playing and breathtaking vibrato, supported by Brackeen's sensitive comping and Houston's economical plowing. "
Dave Gelly awarded the album four (out of five) stars in the British Guardian and said that compared to the Getz / Gilberto recording that was made at the same time, which was characterized by "gentle minimalism", this set sounds "sometimes quite heavy." at almost 50 years of age, "left his lovable, cool school far behind and attracted a new generation of admirers with a fresh, energetic young band." The pianist Joanne Brackeen was excellent; her far-reaching solos clearly inspire Getz to wonderfully haunting and exciting improvisations, especially to Wayne Shorter's composition "Infant Eyes". At that time, Getz said, according to the author, that he had never felt so free and "totally supported" as with Brackeen, bassist Clint Houston and drummer Billy Hart.
Matt Collar noted in Allmusic , which gave the album 4½ (out of 5) stars, that despite the wealth and fame he drew from his first Bossa Nova albums in the 1960s, Getz would be a creatively restless, forward-looking artist in the coming years remained. His band here, which is probably one of his best from this time, also carried this forward-looking vision with performances that spanned the line between lyrical intimacy and aggressive, extroverted improvisation. You can also tell where Getz had his preferences at the time by combining standards like “Summer Night” with harmoniously layered pieces such as Wayne Shorter's sleepy and sultry “Infant Eyes” and the funky Kenny Wheeler composition “The Cry of The Wil Goose ”. Like Getz / Gilberto '76 , Moments in Time is a carefully curated package that includes some of Getz's best live performances from that time.
According to C. Michael Bailey ( All About Jazz ), the saxophonist Stan Getz is recognized as an innovator, but rarely gets the attention he deserves, like many of his contemporaries. That's what makes these two previously unreleased releases by Resonance Records so magic. "Getz reminds us here of what an outstanding presence he was in jazz both as a saxophonist and as a genre stylist." Getz presented himself in a characteristically muscular performance that should help every Getz newcomer to know what it was about . The rhythm section was well received on both recordings , thanks to Fran Gala, who restored the sound and mastered the recordings.
Derek Taylor went into more detail about the sound quality of the recording in his review of the album for Dusted. As with previous projects of the Resonance label, the accuracy at the edges is a bit rough. “Brackeen comes through clearly, but bassist Clint Houston and drummer Hart are a little less well served by the mix. Getz's tenor is front and center and wonderfully preserved. ”Taylor went on to write:“ Brackeen's previous experience with tenorist Joe Henderson gives her a foil without fear of testing things harmoniously, and Hart faces similar rhythmic challenges behind his kit. Getz answers in his own way ”and undertakes a program that balances well-known ballads with more modern compositions such as Shorter's“ Infant Eyes ”and Kenny Wheeler's“ The Cry of the Wild Goose ”. If you heard how he tackled the comparatively complex contours of the last pieces, you could see, according to Taylor in his résumé, how completely he was able to master his horn.
Web links
Individual evidence
- ↑ a b Review of the album Moments in Time by Matt Collar at Allmusic (English). Retrieved April 1, 2019.
- ^ A b c Steve Greenlee: Stan Getz: Moments in Time. JazzTimes, May 8, 2016, accessed April 1, 2019 .
- ↑ a b Derek Taylor: Stan Getz - Moments in Time (Resonance). Dusted, February 24, 2016, accessed April 1, 2019 .
- ↑ Discographic information at Resonance Records
- ↑ Discographic information at Discogs
- ↑ Dave Gelly: Stan Getz: Moments in Time review - wonderfully exciting. The Guardian, March 4, 2016, accessed April 1, 2019 .
- ↑ C. Michael Bailey: Stan getz Spring 1976. All About Jazz, February 8, 2016, accessed April 1, 2019 (English).