Gavin Walker
Jan 30, 2009, 12:41 AM
Tonight's Feature is a bit of a birthday tribute to one of the greatest and most distinctive voices of the tenor saxophone. That voice belongs to Stan Getz, who was born on February 2 in Philadelphia, Pennsylvania in 1927 and died of cancer in Los Angeles on June 6, 1991. Getz' biography is easily accessed and well known and his recordings are widely available as he is to this day one of the most, along with Coltrane and Rollins, listened-to saxophonists in Jazz history. Getz, in his early days was known as "The Sound" and although he rolled his eyes at this tag, it was not a misnomer as he possessed one of the most easily identifiable sonorities on the horn and influenced scores of players, even to this day. John Coltrane admitted to being influenced by Getz and if you really listen to the Trane of the 50's and early 60's you can hear that. Trane and Getz used to go to each other's gigs when one or the other was not travelling or working. There is even a famous U-Tube video of them playing together. I am only reiterating this because there is a certain faction of the Jazz listening public who look on Stan as a bit of a lightweight when compared to Trane or Rollins or Joe Henderson and Wayne Shorter. Joe and Wayne exhibit some very strong Getzian tendencies in their playing, all one has to do is listen to their many recordings. Tonight's Feature is from 1953 and it is a segment of Stan's recording and playing career that has been under documented and is all about his musical partnership with the talented valve trombonist/composer, Bob Brookmeyer.
Getz and Brookmeyer had hooked up for some East Coast gigs in Boston and New York in early 1953 and Stan found a perfect match with his 'ice blue' sound and Brookmeyer's burry valve trombone. Getz had, of course been on his own since leaving Woody Herman's band in 1949. He worked as a single or with a quartet with pianists Al Haig then Horace Silver or with a quintet with guitarist Jimmy Raney and pianist Duke Jordan but now he looked for something new and fresh and the Brookmeyer quintet was formed. Brookmeyer's concept was modern with strong traditional roots and both Stan and Bob enjoyed playing interweaving lines together and thrived on collective improvisation much like old-time Dixieland players but of course, very cool and modern.
After the East Coast gigs, Stan and Bob along with pianist Johnny Williams, bassist Teddy Kotick and drummer Frank Isola headed for Los Angeles. Getz, his then wife, Beverly and their two children moved into a new home that Stan had bought. 1953 was a creative year for Stan and also a very chaotic one as he was in his eighth year of heroin addiction and his wife was not exactly drug-free either. The LAPD were after Stan almost from his first day and at the time California law allowed narcs to detain anybody who had needle marks or tracks even if they had no drugs in their possession. Stan, who had never done any time, was constantly harassed and questioned and of course was told by the narcs that if he fingered any musician they would leave him alone. Getz never did that so the LAPD never let up. All this chaos seemed to bring out Stan's creativity as music itself became an escape for him. Tonight's Feature will be culled from the 3 recording sessions that were done for Norman Granz with this amazing and short-lived band. Gigs dried up in the Fall of 1953 and Stan persued his career as a star soloist but reformed the Quintet for the famous Shrine Concert in the Fall November 1954.
I've discussed the musical chemistry betwen Getz and Brookmeyer but a mention must be made about the contributions of pianist Johnny Williams. This "Johnny" is not to be confused with pianist, John Towner Williams who is now more famous as a composer. Our Johnny was born in Windsor, Vermont on January 28, 1929 and worked with Getz, and Zoot Sims and recorded with Cannonball Adderley, Phil Woods and did a fine trio recording for Emarcy then seemed to drop out of the scene. Williams work on these Getz recordings combines the earthy, stabbing style of Horace Silver and Russ Freeman but with his own individual twist. Local pianist and legend, Al Neil, considered Johnny Williams one of the best and a huge influence on his (Neil's) early style. It would be nice to know whatever happened to this fine pianist. Johnny cooks on every solo. Teddy Kotick was Charlie Parker's favourite bassist and Bird called Teddy, "my heartbeat". Detroit drummer, Frank Isola is so creative in a very discreet way and gives the whole rhythm section a floating quality. I know you will enjoy the Quintet's work as they do some Brookmeyer originals and some standards. This was an exceptional band these recordings reflect a stage in Getz' illustrious career that is not well documented.
Aside from the Getz Quintet as the Feature, a few minutes after 11pm, we will, earlier in the show, pay a small tribute to that other great saxophonist who shares a birthday with Getz......Sonny Stitt. We'll hear some gripping music by the Don Thompson Quartet, with Don, Phil Dwyer, Jim Vivian and Terry Clark who toured these parts last year around this time. Don Thompson told me that this recording is the best thing he has done in the last 25 years! It's called "For Kenny Wheeler" and we'll hear a few selections from that album. We'll also present the SF Jazz Collective from their latest output, doing the music of Wayne Shorter. I'm going to play Wayne's original versions of a couple of his tunes and contrast them with the SF's versions....it will be interesting listening, to say the least. Please join me at 9pm for the whole show. Looking forward to seeing you this Monday.
Getz and Brookmeyer had hooked up for some East Coast gigs in Boston and New York in early 1953 and Stan found a perfect match with his 'ice blue' sound and Brookmeyer's burry valve trombone. Getz had, of course been on his own since leaving Woody Herman's band in 1949. He worked as a single or with a quartet with pianists Al Haig then Horace Silver or with a quintet with guitarist Jimmy Raney and pianist Duke Jordan but now he looked for something new and fresh and the Brookmeyer quintet was formed. Brookmeyer's concept was modern with strong traditional roots and both Stan and Bob enjoyed playing interweaving lines together and thrived on collective improvisation much like old-time Dixieland players but of course, very cool and modern.
After the East Coast gigs, Stan and Bob along with pianist Johnny Williams, bassist Teddy Kotick and drummer Frank Isola headed for Los Angeles. Getz, his then wife, Beverly and their two children moved into a new home that Stan had bought. 1953 was a creative year for Stan and also a very chaotic one as he was in his eighth year of heroin addiction and his wife was not exactly drug-free either. The LAPD were after Stan almost from his first day and at the time California law allowed narcs to detain anybody who had needle marks or tracks even if they had no drugs in their possession. Stan, who had never done any time, was constantly harassed and questioned and of course was told by the narcs that if he fingered any musician they would leave him alone. Getz never did that so the LAPD never let up. All this chaos seemed to bring out Stan's creativity as music itself became an escape for him. Tonight's Feature will be culled from the 3 recording sessions that were done for Norman Granz with this amazing and short-lived band. Gigs dried up in the Fall of 1953 and Stan persued his career as a star soloist but reformed the Quintet for the famous Shrine Concert in the Fall November 1954.
I've discussed the musical chemistry betwen Getz and Brookmeyer but a mention must be made about the contributions of pianist Johnny Williams. This "Johnny" is not to be confused with pianist, John Towner Williams who is now more famous as a composer. Our Johnny was born in Windsor, Vermont on January 28, 1929 and worked with Getz, and Zoot Sims and recorded with Cannonball Adderley, Phil Woods and did a fine trio recording for Emarcy then seemed to drop out of the scene. Williams work on these Getz recordings combines the earthy, stabbing style of Horace Silver and Russ Freeman but with his own individual twist. Local pianist and legend, Al Neil, considered Johnny Williams one of the best and a huge influence on his (Neil's) early style. It would be nice to know whatever happened to this fine pianist. Johnny cooks on every solo. Teddy Kotick was Charlie Parker's favourite bassist and Bird called Teddy, "my heartbeat". Detroit drummer, Frank Isola is so creative in a very discreet way and gives the whole rhythm section a floating quality. I know you will enjoy the Quintet's work as they do some Brookmeyer originals and some standards. This was an exceptional band these recordings reflect a stage in Getz' illustrious career that is not well documented.
Aside from the Getz Quintet as the Feature, a few minutes after 11pm, we will, earlier in the show, pay a small tribute to that other great saxophonist who shares a birthday with Getz......Sonny Stitt. We'll hear some gripping music by the Don Thompson Quartet, with Don, Phil Dwyer, Jim Vivian and Terry Clark who toured these parts last year around this time. Don Thompson told me that this recording is the best thing he has done in the last 25 years! It's called "For Kenny Wheeler" and we'll hear a few selections from that album. We'll also present the SF Jazz Collective from their latest output, doing the music of Wayne Shorter. I'm going to play Wayne's original versions of a couple of his tunes and contrast them with the SF's versions....it will be interesting listening, to say the least. Please join me at 9pm for the whole show. Looking forward to seeing you this Monday.