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West Coast Jazz CD
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WEST COAST JAZZ
Le must d'un jazz dit de la côte ouest avec les sonorités du temps laissé au temps. Il s'agit du musée qui évoque le style cool dans sa plus parfaite exposition, tant par les thèmes abordés que par les participants dont l'évocation des noms renvoi au panthéon du style. Toutes les langueurs et les impatiences sont ici conjuguées au fil de cette musique qui s'est voulue "cool", avec la présence de musiciens aussi expressifs qu'un Conte Candoli à la trompette et un Lou Levy au piano. Il fallait le son si envoûtant d'un Stan Getz et son génial détachement pour rendre cette association si délectable. Il faut écouter cette oeuvre comme une explication historique, presque sacrée, du feeling "west coast". --Jean-Michel Schlosser
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C'est un de mes disques cultes, l' aérien Getz plane à merveille dans cette collection alternant standards et thèmes bop.
Lou Levy, Leroy Vinnegar et Shelly Manne font partie des plus fins accompagnateurs de l' histoire du Jazz, et Conte Candoli joue Hot avec classe.
Un vrai bijou !
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So it was by sheer luck, and my good fortune, that I was driving around a few months ago without a CD, searching through the radio looking for something good. I stopped when I heard some swinging jazz coming through a station. Not big band swing, but more of a smooth and smoky sound, straddling the line between bop and swing without being precisely one or the other. At the end of the track, I was quite surprised to hear the announcer tell me that that was from Stan Getz's "The Steamer". When I got home, I hopped online and sampled more tracks from that album. Good stuff - so I went out and bought the whole album, and have been loving it ever since. "The Steamer" was good enough that I knew it wouldn't be the last Getz I'd get.
After that, I read up a little more on Getz, and discovered that there was a lot more to him than The Girl From Ipanema. Since I had to go to Tower to exchange an unwanted DVD gift, I went thumbing through the racks to see if anything jumped out at me. His "West Coast Jazz" caught my eye, since it was mid 50's pre-bossa nova, and a full CD of over 70 minutes. Plus, it had covers of Miles Davis's Four, Dizzie Gillespie's A Night In Tunisia, and Horace Silver's Split Kick. Seemed like a no-brainer.
Where have I been? Why has this sax tone been hiding from me? What I heard on "The Steamer" continues here. Sweet without being cloyingly so, cool without sounding pretentious. The trumpet on its own is not that harsh, but Getz's tenor sax is so smooth that when the trumpet comes in, the contrast is that much more evident in its sharpness. Pick your favorite cliche - baby's bottom, silk, satin - Getz is smoother than all of 'em.
And the rest of the band who fills out the quintet is absolutely perfect. It's Conte Candoli's trumpet and Lou Levy's piano that are the other prominent instruments here, with the bass and drums holding down the rhythm with consummate professionalism. I don't listen to the Woody Herman Band (maybe I should), but that band's members who appear behind Getz support him perfectly. Nobody's stepping on anybody's toes. With more than half of the songs over six minutes there's plenty of time for charismatic phrasing all around.
No need to go song by song; I've only gone through this a few times, but every track can stand on its own. I've already loaded this into my computer at work so I won't be without it.
The only thing that would make this more complete would be if it were sold with a martini with two olives.
Verve has triumphed yet again digging another West Coast Jazz Classic out of the vaults and cleaning it up with a 20-bit remix.
Sparkling, complex, a mix of up-tempo and ballad arrangements. This late 50's CD sounds a lot like Stan's 80's work. Best tunes include "East of the Sun and West of the Moon", "Suddenly It's Spring", "Of Thee I Sing" and "Handful of Stars".
Similar to "Award Winner" and "The Steamer" - all recorded at the same time. Buy all three. Jazz's greatest saxophonist may be gone, but his legacy continues to astonish. Stan Levy, Getz drummer is quoted as saying "He (Stan) had no limits; he could play anything. The horn was an extention of his head. There were no barriers, the music just came out".
So come hear Jazz's most beautiful sax sounds come pouring out of him like a bubbling happy waterfall. Warm, and up-beat. For best results, listen on vacuum tube equipment, as it was originally recorded.
by MY tough rating system, a clear four to five stars for a great classic. Getz albums keep vanishing, the originals at least, not the best of's. Get it while you can, you won't be disappointed.
His mellow music is a balm for a harsh world.
artistic high mark when he released this blockbuster album in 1955 which highly
showcased his cool, profitable, but at times laid back showmanship to whom he
was immortalized for. Recorded and released in 1955, West Coast Jazz would
even focus on the East Coast- West Coast Controversy, which was a hot button
topic in jazz circles, and Getz one of a few jazz stars to settle the coast to coast
score and set the record straight. Highlighted by an astonishing track set that's
played with absolute greatness, it features a set of excellent takes on standards
like the enduring opening track East Of The Sun, as it is preceded by Suddenly,
It's Spring; Dizzy Gillespie's A Night In Tunisia, Summertime, Serenade In Blue,
Of Thee I Sing and Our Love Is Here To Stay, to whom he performed them with
swinging merit and sophistication. Backed by a great rhythm section that would
include master drummer Shelly Manne, Getz gives his rapid fire take on classic
jazz standards like Sonny Rollins' Four and even two original compositions, like
S-H-I-N-E, as he provides the energetic interplay. The difference between East
Coast/ West Coast Jazz was a hot topic at the time as critics and jazz fans took
sides, but when Getz was in California give his club date at Hollywood's former
jazz club Zardi's when he was greeted by a back-up band, he was one of a few
jazz musicians to straighten out the East/ West Coast controversy, which led to
the making of this album. Just as timeless and fascinating as ever, West Coast
Jazz captures him at his most lyrical--and digitally-remastered in it's expanded
format, his masterpiece will ring even brighter.
It's true that Coltrane makes an instant impression with his incisive, arresting, edgy sound and his "vertical" approach, going to the altissimo register and pyrotechnical harmonics from the very first bar of his solo. Getz, on the other hand, chooses to follow Lester Young, submitting a Prez-like, linearly developed and melodic solo that moreover swings "with" the groove established by Oscar rather than all but ignoring it. Because many listeners are familiar with little else than Getz' early 1960s bossa nova period, they assume that he's technically limited!
Wrong, wrong, wrong. Norman Granz delighted in putting him up against masters like Stitt, Rollins, and Diz on several Verve sessions on which no tempo is under the speed limit. But there's one solo on this album that should settle the matter for good: Getz' incredible technical facility as well as his command of articulation, time, harmony and melody on the old Louis Armstrong/Bing Crosby/Benny Goodman vehicle called "Shine." Chorus after chorus go by, and Getz' solo simply keeps developing, unfolding new surprises, each revealing yet another remarkable side to this prodigious player.
The aforementioned description is in no way meant to disparage Coltrane's playing. Anyone who has listened to "Giant Steps" or Trane's cadenza on "I Want to Talk About You" from "Live at Birdland" has either got to be astonished by his playing or tone deaf. But the same goes for anyone who listens to Getz' solo on "Shine." And during those moments when Getz chooses to take a more understated, purely melodic path, his ability to sound more "Prez-like" than Prez himself is merely further testimony to the multiple genius of an artist who could find beauty in utter simplicity as readily as in the most challenging pyrotechnics.