Stan Getz Quartet – Paris + The Netherlands (1971)

FrontCover1Stan Getz (born Stanley Gayetski; February 2, 1927 – June 6, 1991) was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as “The Sound” because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young. Coming to prominence in the late 1940s with Woody Herman’s big band, Getz is described by critic Scott Yanow as “one of the all-time great tenor saxophonists”. Getz performed in bebop and cool jazz groups. Influenced by João Gilberto and Antônio Carlos Jobim, he popularized bossa nova in America with the hit single “The Girl from Ipanema” (1964). (by wikipedia)

Between 1969 and 1972, Stan Getz, for the second time, moved from the United States to Europe where he lived with his family in Marbella (Spain) performing essentially in Europe with a quartet composed of three European musicians: Eddy Louiss (organ); René Thomas (guitar) and Bernard Lubat (drums). During this period the quartet never entered a recording studio and only three concerts have surfaced. The first one at Ronnie Scott’s Club in London (March 15, 16 and 17, 1971) issued as Dynasty, one in Paris on March 28, 1971; and another in The Netherlands (August 7, 1971).

Thanks to cosmikd for sharing the Paris show at Dime.

Recorded live at theStudio 104, Maison de la Radio, Paris, France; March 28, 1971. International Jazz Festival, Loosdrecht, The Netherlands; August 7, 1971.
Very good FM broadcasts.


Stan Getz (saxophone)
Bernard Lubat (drums)
Eddy Louiss (organ)
René Thomas (guitar)



Paris 1971:
01. Annie From Abyssinia (Lubat) 10.58
02. Our Kind Of Sabi (Louiss) 17.21
03. Mona (Mangelsdorff) 4.48
04. Theme For Emmanuel (Thomas) 15.40
05. I Remember Clifford (Golson )4.34
06. Dum Dum (Louiss) 11.25
07. Invitation (Kaper) 7.04
08. Chega de Saudade (Jobim) 15.33
09. Ballad For Leo (Thomas) 13.42
10. ‘Round Midnight (Monk) 5.27

The Netherlands 1971:
11. Dum Dum (Louiss) 7.21
12. Announcement 2.18
13. Theme For Emmanuel (Thomas) 11.47
14. Announcement 0.29
15. ‘Round Midnight (Monk) 4.54
16. Announcement 1.08
17. Invitation (Kaper) 5.41
18. Announcement 0.21
19. Ballad For Leo (Thomas) 14.13
20. Announcement 1.39
21. Dynasty (Louiss) 6.00




Stan Getz – Interpretations # 3 (1954)

StanGetzInterpretations3FCWhen 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 rapporti 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 fecling 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 modero jazz, a suspicion which first took hold strongly when he (with Zoot Sims, Serge Chaloff and Herbie Steward) provlded Woody Herman with the “Four Brothers” round. 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.

Bob Brookmeyer, who incidentally studied piano at Kansas City Conservatory, is one of the few and also just about the finest valve trombonists around today. He has played with such groups as Gerry Mulligan’s and Terry Gibbs’ as well as tours (as a pianist) with Tex Beneke, Ray McKinley and Louis Prima. A man of extraordinarily wide range of expression, Brookmeyer has an equally good reputation as an arranger and composer. (One of Brookmeyer’s selections, “Oh, Sane Snavely” is included in this album.) Pianist Johnny Williams, out of Windsor, Vt., has been a member of the Getz unit in addition to playing with Charlie Barnet’s band. An Army Air Forces veteran of World War II, drummer Frank Isola has also played with the Mulligan and Getz groups in the past, while the quintets bassist, Teddy Kotick, has largely confined his work to the East, including appearances with the great alto sax artist, Charlie “Bird” Parker.
For no calculated reason, the selections on the A side are taken from three separate eran.— “The Varsity Drag”, to begin with, is a tune associateti with the ebullient 1920s; Duke Ellington’s “lt Don’t Mean a Thing If It Ain’t Got That Swing” is, of course, from the Swing Era—the 1930s. “Give Me the Simple Life” was popular in the mid-1940s, shortly alter the end of the war when the simple lite was every ex-GI’s happy hope. The B side includes an evergreen standard, “I´ll Remember April” along with the aforementioned Brookmeyer original.

Recorded in Los Angeles CA, July 30, 1953 and November 4, 1954


StanGetzInterpretations3Calling it “the craziest thing I’ve ever done,” Stan Getz is photographed in the back of a police car following his 1954 arrest for attempting to steal narcotics from a Seattle drugstore.

Bill Anthony (bass)
Bob Brookmeyer (trombone)
Stan Getz (saxophone)
Frank Isola (drums)
Teddy Kotick (bass)
John Williams (piano)

01. It Don´t Mean A Thing (If It Ain´t Got That Swing) (Ellington) 6.22
02. The Varsity Drag (Henderson) 7.01
03. Give Me The Simple Life (Ruby/Bloom) 5.59
04. I´ll Remember April (DePaul) 11.01
05. Oh, Shane Snavely (Brookmeyer) 6.16