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The Steamer Compilation
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L'une des grandes sessions californiennes de Stan Getz au cours des années cinquante. Chef de file du jazz cool, le saxophoniste ne pouvait que se rapprocher de ce jazz de l'Ouest, si proche de sa musique, de ces jazzmen qui, comme lui, revendiquent l'influence de Lester Young. De Lester, Getz a surtout retenu une approche mélodique de l'improvisation. Il a bien sûr assimilé le langage harmonique de Charlie Parker, mais ses phrases, construites avec logique et rigueur, recherchent avant tout l'émotion. C'est bien un musicien tourné vers le lyrisme qui s'exprime dans ces plages, la plus célèbre de The Steamer restant "Blues For Mary Jane", dédiée à Mary Jane Outwater, la secrétaire de Norman Granz. Lou Levy, le pianiste du trio qui l'accompagne, a joué avec Getz dans l'orchestre de Woody Herman. Son jeu orchestral, ancré dans le bop mais largement ouvert au swing, convient bien au saxophoniste qui bénéficie avec Leroy Vinnegar à la basse et Shelly Manne à la batterie, d'une souple et confortable assise rythmique. --Pierre de Chocqueuse
Commentaires en ligne
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The pace of this record is mostly foot tapping stuff as the majority of numbers are up tempo. Stan's saxophone really steams along on these numbers with an exquisite tone. Getz always possessed a unique tone that was instantly identifiable as his. No wonder he was referred to as "The Sound".
A special mention must be made for "You're Blase", the only real ballad on the record. I repeat what is stated in the linear notes
that "new depths of lyricism can be heard on this beautiful track.
There's a wonderful yearning quality in Getz's playing".
Another bonus is the recording quality which is first class.
Stan Getz was given the name "Stanley the Steamer" by Oscar Peterson because his music "cooked" or "steamed".
Mostly upbeat swing tempos, this cd is a lot like "West Coast Jazz". Good, solid performance, Stan and the guys stretch out a bit longer these more complex arrangements than he usually recorded during this period.
Happy and upbeat, warm and sunny. Not many ballads.
20-bit remastering sounds accurate to the original disc.
The sound samples on this page convey more about this album than I can with words, but I do need to note that the rhythm section adds as much to the music (to my ears) as Getz himself. I also love how Getz is getting away from his heavy Lester Young influence on this album and emerging as his own voice. Nothing against Pres because he will always remain my favorite, but Getz' own style was too great to remain in Pres' shadows. Perhaps it's the West Coast vibe that inspires his playing here.
This album was recorded for Verve in Los Angeles at the Radio Recorders studio on November 24, 1956. Getz is backed by Lou Levy on piano, Leroy Vinngar on bass and Stan Levey on drums. If you are a bassist pay particular attention to Vinnegar's playing, which is masterful. That is not to say that Lou Levy's piano and Stan Levey's drumming are not because they are also in top form. However, the stars on this album in my opinion are Getz and Vinnegar.
This reminds me a little of 'Turtle Head' in 'Sticking Out'. It's theme is a series of runs up and down the emotional gamut.
You can't go wrong with this one! It's a heap of fun. Nothing corny here!
again impressed listeners with another highly lauded masterpiece in 1956 when
he truly brought his voice to a bright new high in excellence. For The Steamer,
his sound had struck another sophisticated note where he again found his voice
in lavish versatility while his sound had traveled a light year that time with whom
he convey the melody with an astonishingly broad palette of tonal colour, driven
by his world class tenor saxophone and his quartet group interplay. Highlighted
with yet another astonishing track set that swings with originality and serendipity
charm, his quartet delivers there cross combination of original compositions and
dazzling takes on standards which begins with the classic original opening track
Blues For Mary Jane, which proceeds on plenty of fresh takes on standards like
There Will Never Be Another You, You're Blaise and even How About You. His
approach to his quartet have come a long way since his early combo dates from
the late-1940's and early-1950's, but there is a great deal of reaction to Getz, or
vise versa. Like Pardon My Bop and West Coast Jazz, The Steamer marked an
important turn in his long and winding music career, and what you can even find
on the edition are a set of hairpin turns that will make your head swivel with over
the edge fascination, which sounds even brighter in it's expanded format.