Ce disque magnifique a été enregistré en 1982 avec Jim Mc Neely au piano, Marc Johnson à la basse et Victor Lewis aux drums, une formation royale avec qui Getz a enregistré nombre de pépites. Cela commence en fanfare avec le superbe "On the Up and Up" composé par Mc Neely dont les coups de pattes félins de sont pas sans rappeler Mc Coy Tyner. Suit le plus mélancolique "Blood Count" de Billy Strayhorn ou Getz déploit des trésors de lyrisme et d'harmonie. Ecoutez comme chaque note est modelée à l'extrème pour en tirer le meilleur, avec lui jamais de bavardage inutile, juste le nombre de notes qu'il faut, à la bonne vitesse et en nous offrant toujours ce son à la fois puissant et velouté dont il a le secret. Il faut avoir vu Getz jouer pour comprendre la tension que chaque souffle engendrait. Vous l'aurez compris je suis un fan absolu de Getz, je ne prétendrais pas qu'il fut le meilleur saxophoniste d'après guerre (quoique souvent quand même et pardon à Coltrane et Rollins). Getz lui est toujours à la recherche de la note ultime, que se soit dans les titres lents ou les plus rapides, jamais de suraigus, jamais d'effet de cape. Stan Getz fut simplement un saxophoniste amoureux de la musique, un musicien surdoué certes mais qui ici n'a plus rien à prouver à qui que se soit et qui se fait plaisir sur le "Very Early" de son "vieil ami" Bill Evans ou le "Slippin' at Bells" de Miles. L'album de termine en beauté avec l'échevelé "Tempus Fugit" de Bud Powell, un démenti cinglant à ceux qui ne voient en Getz qu'un saxophoniste de ballades !! Un titre qui pour une fois reflète bien l'ambiance de ce disque merveilleux.
Après une décennie 1970 jugée par les critiques (et parfois par lui-même) comme globalement calamiteuse, Stan Getz, débarassé de ses addictions, aborde la décennie 1980 en nous livrant un jazz plus épuré. "Pure Getz", enregistré en Californie et à New York en janvier et février 1982, se veut un résumé de tout son art. Il fonde un nouveau Stan Getz Quartet, accompagné du pianiste Jim McNeely, du bassiste Marc Johnson et du batteur Victor Lewis (ce dernier étant remplacé par Billy sur tois morceaux). Sur les sept morceaux sélectionnés, six sont de standards et une composition originale signée McNeely. Comme c'est souvent le cas dans les albums de Stan Getz, plusieurs styles jazzistiques nous sont donnés à entendre : deux bops mélodieux, "On The Up And Up" (composé spécialement par Jim McNeely) et "Sipping At Bell's de Miles Davis interprété sur des tempos médiums, quatre ballades dont "Blood Count" (la dernière composition de Billy Strayhorn), "Very Early", "I Wish I Knew" et "Come Rain Or Come Shine". L'album s'achève avec une reprise de "Tempus Fugit" de Bud Powell, morceau hard-bop par excellence enlevé sur des tempos d'enfer. Dans cet album, jamais Stan Getz ne tire la couverture à lui. Il laisse chacun de ses complices se livrer à de splendides solos (une mention toute particulière au pianiste qui démarre cinq morceaux sur sept et se lance dans de longs solos stupéfiants par leur virtuosité et l'émotion qu'ils dégagent, dont 3' sur les 7'5" de "Very Early"), mais également les longs solos du bassiste (plus de 2' sur "Tempus Fugit") et quelques interventions des batteurs (splendides sur "Tempus Fugit"). Avec "Blues Skies", "Pure Getz" est l'un des mes disques préférés de la dernière décennie de Stan Getz.
Commentaires client les plus utiles sur Amazon.com (beta)
17 internautes sur 18 ont trouvé ce commentaire utile
Ninety-nine and forty-four one hundreths percent Pure5 septembre 2009
A Music Fan
- Publié sur Amazon.com
Of the twenty-odd discs I've reviewed on this site over the past six years, this one has posed the greatest challenge. First, because I feel that its pleasures do not lend themselves to quick or easy analysis. And secondly, because Stan Getz is himself an intensely problematic figure, both musically and personally.
To speak of Getz the musician as a master of his instrument whose technique was perhaps unsurpassed among his fellow tenors (as John Coltrane did) is only to state the obvious. But to overlook the criticism he occasionally received for playing without emotional fire (Art Pepper's dismissive comments in Straight Life, for example) is to ignore the arguable point that, at times during his long career, he was guilty as charged. (The less often heard complaint that this otherwise protean sax-man refused to embrace modal or free jazz is one in which I place little stock, though there are some who view it as a failing.)
On a human level it is hard (at least for me) to consider Stan Getz the brilliant saxophonist apart from Stan Getz the very flawed human being. Now, it can be and often is argued that the personal stuff doesn't matter. The maxim in Latin is Quod licet Jovi non licet bovi (What Jupiter is allowed is forbidden to an ox), In other words, greatness excuses bad behavior. I'm not completely convinced of that myself, but on the other hand transcendent art is transcendent art. And to be fair, as his biographers have adduced, he clearly had some "inner demons" to contend with.
So, when he was at the top of his form, how good was Mr. Getz? If I were asked, I would submit "Pure Getz" as exhibit A. I acknowledge that tastes will vary and his many admirers will have different opinions, but for a number of reasons this is the SG collection I would recommend to prospective castaways.
First, let's start with the rhythm section. The trio of Jim McNeely, Marc Johnson and Victor Lewis (with Billy Hart on three cuts) constitutes (imo) as fine and tight a group as any the saxophonist ever worked with. Native Chicagoan McNeely, probably best known as an arranger (Village Vanguard Orchestra and several European big bands), composer and teacher, shows himself here to be a brilliant pianist as well; Omaha-born Johnson, who played with Bill Evans' last trio and joined Getz upon the death of Evans, is an inventive powerhouse on bass who continues to this day to rank among jazz's very top players; and finally fellow Omahan Victor Lewis, a legendarily flexible drummer, as of this date two years into an association with Getz that would last until the latter's death in 1991. (Hart, who sits in for Lewis on Very Early, I Wish I Knew and Come Rain or Come Shine, had been a member of Getz' late 70's group.) Together, these musicians provide Getz perfect ensemble support for his lyrical playing.
Second, there's the repertoire. The choice and order of tunes on a disc is rarely something I pay much attention to, but in this case the mix seems to have been so carefully thought out as to command attention. Kicking things off is an up tempo McNeely composition aptly titled "On the Up and Up" and bookending the set is another virtuosic piece composed by a pianist, Bud Powell's likewise suitably entitled "Tempus Fugit." In between are five standards, each a classic and arranged to highlight and take advantage of varying tempos, only one of which ("Come Rain") could be even remotely considered "overplayed." I can't say for certain, of course, but I suspect that McNeely had a strong hand in the thoughtful structuring of the original LP.
Finally, the heart of any critical appreciation, how does it sound? If I'm giving it five stars, it's obvious that I think every cut on the disc is a winner. But let me single out the two I think especially entitle this disc to rank with the best Getz ever recorded. First, Getz's poignant reading of Billy Strayhorn's "Blood Count," written for Johnny Hodges and the Ellington orchestra as Strayhorn lay dying of cancer in a New York City hospital. It is the definitive answer to Art Pepper's blanket condemnation of Getz as an emotionless player. For me, there is as much pain, longing and heroic resignation in these three and half minutes as I've ever heard in any similar interval by any other player, including the acknowledged master of expressive playing Pepper himself. And pay special attention to McNeely's exquisite comping; it's at once the sound of a morphine drip and of a life ebbing inexorably away. Second, the ensemble playing on "I Wish I Knew," is absolutely my favorite recording of this Gordon-Warren standard. Getz positively sings the melody and his occasional lagging behind the beat gives a familiar tune a truly unique feel. And listen closely to Johnson's terrific solo work. I think this shows that this bassist deserves to be mentioned in the same breath as the great Paul Chambers.
One minor beef. Lewis has a very tasty cymbals interlude on "Sippin' at Bells" mixed so far down that unless your speakers are blasting at the max it may come off as twenty-five seconds or so of silence.
13 internautes sur 13 ont trouvé ce commentaire utile
This is as PURE AS IT GETZ12 mai 1999
- Publié sur Amazon.com
I just can't believe that I am the first person to review an album issued in 1982. And frankly, post-bop standards don't come any better than this. Yes, there are a few "Samba" and latin collaborations that this artist is better recognized for. But this one doesn't take the back seat to any of those in any way. The combo of McNeely(piano)/Johnson(bass)/Hart or Lewis (drums) form a perfect (read well stretched) canvas for Mr.Getz to paint on. "Tempus Fugit" swings with passion. "Blood Count" showcases the (controlled) lyrical ability of Stan's horn. It's tough to pick out a bad track on this album. For me, this is Getz at his best. Anyone who likes jazz standards played at the highest level of quality, this is a must for your collection.
13 internautes sur 14 ont trouvé ce commentaire utile
Stan expresses his emotions13 avril 2000
- Publié sur Amazon.com
An excellent performance from Stan's late period. The companion to "Blue Skies". The first of the set to be released. The CD starts and ends very fast with the slower tunes in the middle. "Sipping at Bell's" and "Blood Count" I like the best. Balanced between ballads, swing, and bebop tracks. Technically ravishing recording. At this point in his career Stan is less "Cool", more emotional but his tone is beautiful as ever. 3& 1/2 to 4 stars for a performance that rivals the best stuff Stan Getz ever did.
1 internautes sur 1 ont trouvé ce commentaire utile
Getz at his Best27 novembre 2011
- Publié sur Amazon.com
The ensemble playing, quality of individual playing and excellence is Getz at his best. The musicians on this album include the best group that Stan worked with from the perspective of listening to each other, swinging, balance, quality, innovation and strength.