La librairie Sonore
Frémeaux et Associés
Radio france
Ina
        Recherche avancée

Promotion Michel Onfray
 
Menu nos rubriques - La Librairie Sonore
Partenaire Crédit Agricole

Partenaire La Poste

 
Catalogue papier - La Librairie Sonore

Collection Histoire de France



-->
Accueil arrow JAZZ arrow COLLECTION QUINTESSENCE arrow STAN GETZ - THE QUINTESSENCE VOL. 2
 
Réf. : FA3061

STAN GETZ - THE QUINTESSENCE VOL. 2

LOS ANGELES - NEW YORK - STOCKHOLM (1952-1958)

STAN GETZ
Direction artistique : ALAIN GERBER AVEC DANIEL NEVERS ET ALAIN TERCINET
Nombre de CD : 2

LIVRAISON GRATUITE ET EXPEDITION SOUS:

3-5d.gif
Prix 29.99 €
 
en though they take it at a quick tempo.   Having decided to settle in Sweden, in summer 1958 Getz unpacked his bags and instruments and began playing with some of the best local musicians. In August he took a septet to Sundbyberg’s Europa Film Studio to record a session where each performance had been carefully premeditated. The music that came out of it was elaborate, complex, and in the spirit of the jazz played in Sweden at the time, situated in a direct line with experiments conducted by the Miles Davis Nonet on one side, and by Lennie Tristano on the other. Stockholm Street had been composed and arranged by Lars Gullin, an exceptional musician who played baritone with rare fluidity; his lyrical discourse bears the stamp of bittersweet melancholy which is part of Swedish folk music. Stockholm Street bathes in this atmosphere, and its complex harmonic structure serves as a pretext for an orchestration that is beautifully musical. Getz’ preference here is for meditative refinement, and he’s the only soloist, carried discreetly by the accompanying instruments. For the occasion, Lars Gullin had pulled off something which hadn’t tempted Mulligan. Or which Mulligan hadn’t been free to set up… It’s a possible hypothesis when you consider Norman Granz’ aversion to anything that even remotely resembled a rehearsal…   When Gerry Mulligan had retired from the jazz scene in 1953 after being arrested — James O’Grady boasted about that one, too — Stan Getz had been tempted to replace him alongside Chet Baker. The result was all the less convincing given the quasi-visceral antipathy which had declared itself between Chet and Stan. Whatever got into Norman Granz in February 1958? What was he thinking of when he pushed both of them into a record-session? And in Chicago, of all places, a city where neither of them had any ties… Getz had given a concert with Johnny Griffin there, at DuSable High School, playing with a rhythm section which turned out with him again in the studios at Robert Jordan & Associates Recorders. But Chet? He didn’t have a working-group, so he was probably playing somewhere in the Windy City with local sidemen… So what was Granz expecting? Pianist Jodie Christian admitted, “Nobody knew what we were going to do in the studio. It was kind of strange, a spur-of-the-moment thing. That’s the way it seemed.” Stan Getz declared that what came out of it was the worst album in his career. He wasn’t totally wrong… with one exception, Half-Breed Apache. This Getz tune taken at an insane tempo (the word isn’t too strong) serves to let off steam for fifteen whole minutes, with the two musicians close to strangling each other. In a rage, Getz plays a breathtaking stop chorus and Chet, who won’t take it lying down, literally grabs the microphone with a violence and verbosity which barely resemble him. The rhythm section follows along in a fury orchestrated by Jodie Christian, whose pianistic conceptions are close to those of Horace Silver: “I used to dance. I’ve always been drawn more to rhythmic things than to harmonic things.” Half-Breed Apache suggests that anger can sometimes provide good counsel. When they found themselves together again in 1983 on the same tour, Chet and Stan diluted their wine… but only a little.   The fruits of the association between Getz and J. J. Johnson are diametrically opposed to the results of the above game of fools. The two musicians had already met in February 1950 with Miles Davis, first for a concert aired over radio, and then as part of “The Modern Jazz Society”, for the recording of an album under the combined aegis of John Lewis and Gunther Schuller. Two brief encounters, but they don’t really explain the closeness which instantly developed between them. Getz couldn’t be taken off-guard by Johnson’s language: his perfect elocution had more than one thing in common with the way a valve-trombonist like Bob Brookmeyer played. The skilfully elaborate construction of his contributions, indeed his very concept of jazz, made Jay Jay close to Stan. Nevertheless… Listening to their collective improvisations on My Funny Valentine, it seems incredible that these were born in the fever of a concert given in front of an unruly audience. Music with this kind of balance, and of such a high level of inspiration, counts as one of those miraculous moments which jazz is sometimes capable of generating. Getz was well aware of it. A journalist at Jazz Magazine asked him which album he preferred amongst those he’d shared as a leader, and Stan replied, “The one recorded at the Opera House with Jay Jay Johnson.” Indeed. Would that be the Opera House in Chicago, or the Shrine Auditorium in Los Angeles? Norman Granz never paid much attention to locations and precise dates, and the encounters between Jay Jay and Stan seem to have moved constantly from one venue to the other in the course of this album’s various releases and reissues. The moves were all the easier due to the fact that the pieces played in both concerts were the same. Wherever the Opera was located, the version of It Never Entered My Mind reproduced here is one of the great Getz performances. It would be no exaggeration to simply qualify it as a masterpiece. All on its own, It Never Entered My Mind would suffice to explain what Lester Young meant when, backstage at the Blue Note on the rue d’Artois in Paris, he shouted to Stan, “You are my singer.”   When he recorded Stockholm Street with Lars Gullin, Stan Getz was thirty-one; he’d been a professional musician since he’d been only half that age. Five years — from 1953 to 1958 — were enough for him to rid himself of his label as a “hopeful” — he had promise indeed, and he was also a marginal — and haul himself to the forefront of the jazz scene. From then on, like it or not, everyone knew that Getz was someone to be reckoned with. In the course of a career that would continue to extend another thirty years and more, Stan Getz would have his ups and downs but never lose that something special which made him the last of the Romantics, as he liked to remind people. One afternoon, in the Cimiez Gardens in Nice, he told me one of his secrets: “There are many who have copied me, well, more exactly, I’ve influenced a lot of people. But my style is very hard to copy. It’s too… simple.”11 Adapted by Martin Davies from the French text of Alain Tercinet   © 2015 Frémeaux & Associés   1. Sleeve-notes, More West Coast Jazz with Stan Getz (Verve). 2. Burt Korall, Stan Getz – Soul & Lyricism, in Jazz Journal vol. 44, N°9, September 1991. 3. Donald L. Maggin, Dizzy - The Life and Times of John Birks Gillespie, Harper Entertainment, New York, 2005. 4. John O’Grady & Nolan Davis, O’Grady – The Life and Times of Hollywood’s No.1 Private Eye, J. P. Tarcher Inc., Los Angeles, 1974. 5. Don DeMicheal, A Long Look at Stan Getz in Down Beat, August 1996. 6. Sleeve-notes, Stan Getz ’57 (Verve). 7. Jean-Claude Fohrenbach, Visites aux grands ténors in Les Cahiers du Jazz N° 9, P.U.F., November 1996. 8. Arnold Jay Smith, Influentially Yours, Stan Getz in Down Beat, 12 August 1976. 9. Gordon Jack, Mose Allison in Jazz Journal vol. 48, N°6, June 1995. 10. Cf. (8). 11. Claude Carrière, Alain Tercinet, Stan’s Mood, interview in Jazz Hot N° 353, September 1978.   Il demeurerait toujours, avec un acharnement quelquefois héroïque, Stanislas Stanley Getz «?The Steamer?», c’est-à-dire l’un des plus généreux pourvoyeurs de beauté que le XXe siècle ait connus. Alain Gerber   He would always remain, with a relentless deter­mination that was sometimes heroic, Stanislas Stanley Getz “The Steamer”; in other words, one of the most generous purveyors of beauty known to the 20th century.         Alain Gerber
« Il demeurerait toujours, avec un acharnement quelquefois héroïque, Stanislas Stanley Getz « The Steamer », c’est à dire l’un des plus généreux pourvoyeurs de beauté que le XXe siècle ait connus. »
Alain GERBER

Les coffrets « The Quintessence » jazz et blues, reconnus pour leur qualité dans le monde entier, font l’objet des  meilleurs transferts analogiques à partir des disques sources, et d’une restauration numérique utilisant les  technologies les plus sophistiquées sans jamais recourir à une modification du son d’origine qui nuirait à   l’exhaustivité des informations sonores, à la dynamique et la cohérence de l’acoustique, et à l’authenticité de   l’enregistrement original.
Chaque ouvrage sonore de la marque « Frémeaux & Associés » est accompagné d’un livret   explicatif en langue française et d’un certificat de garantie.

“He would always remain, with a relentless determination that was sometimes heroic, Stanislas Stanley Getz “The Steamer”; in other words, one of the most generous purveyors of beauty known to the 20th century.”
Alain GERBER

Frémeaux & Associés’ « Quintessence » products have undergone an analogical and digital restoration process which is recognized throughout the world. Each 2 CD set edition includes liner notes in English as well as a guarantee.
This 2 CD set presents a selection of the best recordings by Stan Getz between 1952 and 1958.


DIRECTION ARTISTIQUE : ALAIN GERBER, AVEC DANIEL NEVERS ET ALAIN TERCINET
DROITS : DP / FREMEAUX & ASSOCIES

CD 1 (1952-1956)
STAN GETZ QUINTET “STAN PLAYS GETZ” (CLEF/NORGRAN, 12/12/1952) : YOU TURNED THE TABLES ON ME (MITCHELL-L.ALTER) • STAN GETZ QUINTET “MORE WEST COAST JAZZ” (NORGRAN, 12/08/1953) : THE NEARNESS OF YOU (H.CARMICHAEL-N.WASHINGTON) • STAN GETZ QUINTET “AT THE SHRINE” (NORGRAN, CONCERT - 8/11/1954) : PERNOD (J.MANDEL) • DIZ & GETZ (GILLESPIE & STAN) WITH THE OSCAR PETERSON TRIO (NORGRAN, 9/12/1953) : IT DON’T MEAN A THING (E.ELLINGTON-I.MILLS) • STAN GETZ QUARTET “AND THE COOL SOUNDS” (NORGRAN/VERVE, 23/01/1954) : DOWN BY THE SYCAMORE TREE (TRAD.) • STAN GETZ WITH LIONEL HAMPTON (VERVE, 1/08/1955) : CHEROKEE (R.NOBLE) • STAN GETZ QUINTET / QUARTET “& THE COOL SOUNDS” (NORGRAN/VERVE, 15 & 19/08/1955) : SHINE (F.T.DABNEY-J.BROWN-C.MACK), A HANDFUL OF STARS (T.SHAPIRO-J.LAWRENCE) • STAN GETZ QUARET “IN STOCKHOLM” (KARUSELL/VERVE, 16/12/1955) : OVER THE RAINBOW (H.ARLEN-E.Y.HARBURG) • SONNY STITT, STAN GETZ, DIZZY GILLESPIE “FOR MUSICIANS ONLY” (VERVE, 16/10/1956) : BE BOP (J.B.GILLESPIE) • STAN GETZ QUARTET “THE STEAMER” (VERVE, 24/11/1956) : THERE’LL NEVER BE ANOTHER YOU (H.WARREN-M.GORDON).

CD 2 (1956-1958)
STAN GETZ QUARTET “THE STEAMER” (VERVE, 24/11/1956) : BLUES FOR MARY JANE (S.GETZ), YOU’RE BLASÉ (ORD-SIEVIEL) • STAN GETZ QUARTET “THE SOFT SWING” (VERVE, 12/07/1957) : DOWN BEAT (S.GETZ) • STAN GETZ & THE OSCAR PETERSON TRIO (VERVE, 10/10/1957) : I’M GLAD THERE IS YOU (J.DORSEY-P.MEDEIRO) • HERB ELLIS QUINTET WITH STAN GETZ “NOTHING BUT THE BLUES” (VERVE, 11-12/10/1957) : TIN ROOF BLUES (G.BRUNIES P.MARES-L.ROPPOLO-B.POLLACK-M.STITZEL-W.MELROSE) • STAN GETZ MEETS GERRY MULLIGAN “IN HI-FI” (VERVE, 12/10/1957) : THIS CAN’T BE LOVE (R.RODGERS-L.HART), A BALLAD (G.MULLIGAN) • STAN (GETZ) MEETS CHET (BAKER) (VERVE, 16/02/1958) : HALF-BREED APACHE (S.GETZ) • STAN GETZ & J.J. JOHNSON WITH THE OSCAR PETERSON TRIO (VERVE, 7/10/1957) : MY FUNNY VALENTINE (R.RODGERS-L.HART), IT NEVER ENTERED MY MIND (R.RODGERS-L.HART) • STAN GETZ & HIS SWEDISH JAZZMEN (KARUSELL/VERVE, 16/09/1958) : STOCKHOLM STREET (L.GULLIN).



- « Pour le nouveau venu, c’est un festin » par Jazz Magazine – Jazz Man
Si l’on fait l’impasse sur la logique de cette collection et la complémentarité des commentaires d’Alain Gerber (qui eut une relation privilégiée avec Getz) et Alain Tercinet (auteur d’une biographie de Stan), cette compilation pourrait sortir tout droit des archives de Verve. Changements de personnel (Jimmy Raney, Bob Brookmeyer, Conte Candoli, Jimmy Rowles, Lou Levy…), séjours scandinaves et rencontres suscitées par Norman Granz (Dizzy Gillespie, Lionel Hampton, Gerry Mulligan, Chet…) : pour le nouveau venu, c’est un festin. AS - JAZZ MAGAZINE - JAZZ MAN
- Sélection Jazz Hot
SÉLECTION JAZZ HOT
Liste des crédits sur ce CD :
Stan Getz Quintet, Mitchell , H. Carmichael , N. Washington, Johnny Mandel , Stan Getz, Dizzy Gillespie, Oscar Peterson Trio, E. Ellington , I. Mills, Stan Getz Quartet, Traditionnel , Stan Getz With Lionel Hampton, R. Noble , F.t. Dabney , J. Brown, Ted Shapiro , J. Lawrence, E.y. Harburg , H. Arlen , Stan Getz, Sonny Stitt, Dizzy Gillespie, J. Gillepsie , H. Warren , M. Gordon, Siever , Ord , Stan Getz, Oscar Peterson Trio, J. Dorsey , P. Medeiro, Stan Getz, Herb Hellis Quintet, W. Melrose , Brunies G. , Stan Getz Quintet, Gerry Mulligan, L. Hart , R. Rodgers , Stan Getz, Chet Baker, Stan Getz, J.j. Johnson, Oscar Peterson Trio, Stan Getz & His Swedish Jazzmen, Lars Gullin
CDPisteTitreArtiste principalDuréeEnregistré en
11You turned the tables on me Stan Getz Quintet00:02:591952
12The nearness of you Stan Getz Quintet00:03:441953
13Pernod Stan Getz Quintet00:06:501954
14It don't mean a thing Stan Getz, Dizzy Gillespie, Oscar Peterson Trio00:06:431953
15Down by the sycamore tree Stan Getz Quartet00:03:041954
16Cherokee Stan Getz With Lionel Hampton00:09:191955
17Shine Stan Getz Quintet00:08:571955
18A handfull of stars Stan Getz Quintet00:03:201955
19Over the rainbow Stan Getz Quartet00:05:241955
110Be bop Stan Getz, Sonny Stitt, Dizzy Gillespie00:13:041956
111There'll never be another you Stan Getz, Sonny Stitt, Dizzy Gillespie00:09:181956
21Blues for mary jane Stan Getz Quartet00:07:531956
22You're blase Stan Getz Quartet00:04:131956
23Down beat Stan Getz Quartet00:04:471957
24I'm glad there is you Stan Getz, Oscar Peterson Trio00:04:411957
25Tin roof blues Stan Getz, Herb Hellis Quintet00:03:021957
26This can't be love Stan Getz Quintet, Gerry Mulligan00:08:481957
27A ballad Stan Getz Quintet, Gerry Mulligan00:05:461957
28Half breed apache Stan Getz, Chet Baker00:14:531958
29My funny valentine Stan Getz, J.j. Johnson, Oscar Peterson Trio00:08:281957
210It never entered my mind Stan Getz, J.j. Johnson, Oscar Peterson Trio00:03:551957
211Stockholm street Stan Getz & His Swedish Jazzmen00:04:181958
Label : FREMEAUX & ASSOCIES

Les internautes ayant acheté «STAN GETZ - THE QUINTESSENCE VOL. 2» ont également acheté :

STAN GETZ - QUINTESSENCE   
STAN GETZ - QUINTESSENCE
“Tu es mon chanteur”.
(Lester young à stan getz, en janvier 1959, au Blue note de la rue d’Artois).

Les coffrets « The Quintessence » jazz et blues, reconnus pour leur qualité dans le monde entier, font l’objet des meilleurs transferts analogiques à partir des disques sources, et d’une restauration numérique utilisant les technologies les plus sophistiquées sans jamais recourir à...
STAN GETZ - QUINTESSENCE
GERRY MULLIGAN - QUINTESSENCE   
GERRY MULLIGAN - QUINTESSENCE
“Je suis résolu à produire une musique de qualité, agréable à écouter et qui puisse intéresser le plus grand nombre d’auditeurs avisés, en faisant le meilleur usage possible du matériau musical choisi.”
Gerry Mulligan

“I'm determined to come out with quality music which is good to hear and can interest as many enlightened listeners as possible, and using the chosen...
GERRY MULLIGAN - QUINTESSENCE
↑ Retour en haut ↑
Dernière mise à jour :: 26-06-2017 22:46
Frais de ports offerts sur la librairie sonore









titre_newsletter.gif

Meilleures ventes - La librairie sonore
1. Offre Duo - Les Mots... - Luc Ferry
2. Contre Histoire Philosophie V26 - Michel Onfray
3. Histoire des Mythes Grecs - PUF Frémeaux
4. Albert Camus - L'Etranger
5. Histoire de la Bible - Collection PUF-Frémeaux
6. Histoire de France - PUF Frémeaux -(les 8 coffrets -20%)
7. Défense et Critique de la Psychanalyse - Cyrulnik - Onfray
8. Histoire des Pharaons - PUF-Frémeaux
9. Penser le XXI eme Siècle - Luc Ferry
10. Témoignages de la France Rurale au premier XX eme Siècle
Meilleures ventes - La librairie sonore

Contre Histoire Philosophie
Couvertures Onfray
couv-onfray-bas.jpg
pub net color line.jpg
подать объявление бесплатно
Mentions légales | Conditions générales de ventes | Recommander ce site | Ajouter aux favoris | Nous contacter | Plan du site | Désabonnement
© 2010 La Librairie Sonore est une marque déposée du groupe Frémeaux Colombini SAS exploitée par Cyberser SA pour le compte de Frémeaux & Associés