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ABUSE FORM
Stan Getz Quartet - In Stockholm 1978 (2009)
Posted By :
Melaron
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Date :
15 Jan 2012 14:05:50
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Comments :
5
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Stan Getz Quartet - In Stockholm 1978 (2009)
Video: NTSC, MPEG2 Video at 6.683 Kbps, 720 x 480 (1.333) at 29.970 fps | Audio: PCM 2 channels at 1 536 Kbps, 48.0 KHz
Genre: Jazz | Label: Efor | Copy: Untouched | Runtime: 62 min | 3,72 Gb (DVD-5)
Video: NTSC, MPEG2 Video at 6.683 Kbps, 720 x 480 (1.333) at 29.970 fps | Audio: PCM 2 channels at 1 536 Kbps, 48.0 KHz
Genre: Jazz | Label: Efor | Copy: Untouched | Runtime: 62 min | 3,72 Gb (DVD-5)
| “ | One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard. Getz, whose main early influence was Lester Young, grew to be a major influence himself and to his credit he never stopped evolving. Getz had the opportunity to play in a variety of major swing big bands while a teenager due to the World War II draft. He was with Jack Teagarden (1943) when he was just 16, followed by stints with Stan Kenton (1944-1945), Jimmy Dorsey (1945), and Benny Goodman (1945-1946); he soloed on a few records with Goodman. Getz, who had his recording debut as a leader in July 1946 with four titles, became famous during his period with Woody Herman's Second Herd (1947-1949), soloing (along with Zoot Sims, Herbie Steward, and Serge Chaloff) on the original version of "Four Brothers" and having his sound well-featured on the ballad "Early Autumn." After leaving Herman, Getz was (with the exception of some tours with Jazz at the Philharmonic) a leader for the rest of his life. During the early '50s, Getz broke away from the Lester Young style to form his own musical identity and he was soon among the most popular of all jazzmen. He discovered Horace Silver in 1950 and used him in his quartet for several months. After touring Sweden in 1951, he formed an exciting quintet that co-featured guitarist Jimmy Raney; their interplay on uptempo tunes and tonal blend on ballads were quite memorable. Getz's playing helped Johnny Smith have a hit in "Moonlight in Vermont"; during 1953-1954, Bob Brookmeyer made his group a quintet and, despite some drug problems during the decade, Getz was a constant poll winner. After spending 1958-1960 in Europe, the tenorman returned to the U.S. and recorded his personal favorite album, Focus, with arranger Eddie Sauter's Orchestra. Then, in February 1962, Getz helped usher in the bossa nova era by recording Jazz Samba with Charlie Byrd; their rendition of "Desafinado" was a big hit. During the next year, Getz made bossa nova-flavored albums with Gary McFarland's big band, Luiz Bonfá, and Laurindo Almeida, but it was Getz/Gilberto (a collaboration with Antonio Carlos Jobim and João Gilberto) that was his biggest seller, thanks in large part to "The Girl from Ipanema" (featuring the vocals of Astrud and João Gilberto). Getz could have spent the next decade sticking to bossa nova, but instead he de-emphasized the music and chose to play more challenging jazz. His regular group during this era was a piano-less quartet with vibraphonist Gary Burton, he recorded with Bill Evans (1964), played throughout the 1965 Eddie Sauter soundtrack for Mickey One, and made the classic album Sweet Rain (1967) with Chick Corea. Although not all of Getz's recordings from the 1966-1980 period are essential, he proved that he was not afraid to take chances. Dynasty with organist Eddie Louiss (1971), Captain Marvel with Chick Corea (1972), and The Peacocks with Jimmy Rowles (1975) are high points. After utilizing pianist Joanne Brackeen in his 1977 quartet, Getz explored some aspects of fusion with his next unit which featured keyboardist Andy Laverne. Getz even used an Echoplex on a couple of songs but, despite some misfires, most of his dates with this unit are worthwhile. However, purists were relieved when he signed with Concord in 1981 and started using a purely acoustic backup trio on most dates. Getz's sidemen in later years included pianists Lou Levy, Mitchell Forman, Jim McNeely, and Kenny Barron. His final recording, 1991's People Time, (despite some shortness in the tenor's breath) is a brilliant duet set with Barron. | ” |
Artists:
- Stan Getz - Tenor Saxophone
- Lars Sjosten - Piano
- Georg Riedel - Bass
- Rune Carlsson - Drums
Tracklist:
01. Lars Meets Jeff (Gullin) [7:41]
02. Ballad for Laila (Sjösten) [11:03]
03. They Can't Take That Away From Me (G. & I. Gershwin) [8:03]
04. 'Round Midnight (Monk) [9:25]
05. Billie's Bounce (Parker) [7:12]
06. You Stepped Out of a Dream (Herb Brown-Kahn) [10:49]
07. I'll Remember April (DePaul-Johnston-Raye) [8:37]
Features:
- Direct Scene Access
- Interactive Menu
Download:
(8% restore - links are interchangeable)
Cover included (front) / No passwords
(450 MB - parts)
(8% restore - links are interchangeable)
Cover included (front) / No passwords
(450 MB - parts)
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Saludos desde Chile.
Thank you so much.
2.0 out of 5 stars There's Got to Be Better Getz Video Than This!, December 8, 2011
By
Jim Brown - See all my reviews
This review is from: Stan Getz Quartet: In Stockholm 1978 (DVD)
Stan Getz was one of the great jazz soloists. As a working sound professional, I heard a lot of him in the 70s, and I got to know two of the musicians in one of his working bands. I found his playing consistently good, and so did the musicians who worked with him. This video is lacking in at least three important ways. First, the sound quality is poor due to a technical defect called tape flutter. Sonically, that makes his horn sound "gurgley," and both his horn and the piano sour and slightly off pitch. Second, Stan is playing with a local rhythm section that is new to him, and is not at all up to his level. Everyone's trying, but the result is well below Stan's normal level. Third, the video quality quite poor -- low resolution and dark.
On the positive side, Stan sounds pretty good (I've never heard him sound anything less than good) on the standard tunes that he plays, and the video direction is very good -- the camera(s) remain focused on the musicians and don't get crazy with excessive movements. Aside from the serious defects noted, the sound mix is fairly well balanced. The Swedish musicians listed are pianist Lars Sjosten, bassist Georg Riedel, and drummer Rune Carlsson.
I've been torn between giving this DVD two or three stars. Only two because of the defects noted, or three for Stan's playing. I settled on two -- this was clearly done in a broadcast studio, and the technical quality of the original recording was almost certainly far better than what is seen here. That means extreme carelessness on the part of those who issued this material, and the result is something I find hard to watch and listen to.