Stan Getz • Stan Getz And The Oscar Peterson Trio

 

Review

In that quintessential breakthrough year of modern jazz -- 1957 -- Norman Granz was fond of pairing the legendary drummerless trio of Oscar Peterson with several different stars from the Jazz at the Philharmonic concert series. In this case, Stan Getz is the nominee, and Granz could not have found a better match for the pianist alongside his peerless combo than the ripe, mature, and bebopping tenor saxophonist. It was a one-shot deal, the only official collaboration between Getz and Peterson, expanded on this edition of the Silver Collection series with tracks from the complete session, with no alternate takes or bonus tracks and recorded entirely in monaural. Unlike Art Tatum -- who could never really restrain his notions to always cut loose -- Peterson sounds relatively relaxed on this date, understanding that Getz was also not going to shred up every tune they played. With guitarist Herb Ellis and bassist Ray Brown, the quartet members not only have all the rhythmic cohesion they need without a formal timekeeper, but interact in a way that approaches telepathic or magical. In short, the quartet is in the zone like few groups ever achieve in a studio setting. They zip through a bop-based edition of "I Want to Be Happy," a hopped-up adaptation of "Sweet Georgia Brown" titled "Tour's End," and the flawless "Three Little Words" like they are child's play. The strong Kansas City cum Texas-style guitar of Ellis cannot be denied during "Bronx Blues," while Getz reins in the countrified air of the jam in a laid-back but downtown fashion. During the great song (penned by Ellis) "Detour Ahead," heard here in an instrumental, post-Billie Holiday version, the ensemble shows ultimate flexibility, heightened by the tenor saxophonist's touching yet firm grasp of the melody. Aside from the closer, "Blues for Herky," with a choppy guitar from Ellis and a New Orleans-type feel, the rest of the material consists of ballads or midtempo cool tunes. This is where Peterson is most surprising, toning down his act, interpreting the songs with the precision of a diamond cutter, and using his acute listening skills to the fullest. Those bedazzled by the utter virtuosity of the pianist should listen more closely to this recording to hear how his taste level is as elevated as the monster technique he possesses. While "I Was Doing All Right" approaches a lounge sound, the five-tune "Ballad Medley" displays Peterson at his best, especially on his feature, "How Long Has This Been Going On." On this great album for the times and all time, these wonderful musicians are on from the word go, providing 60 priceless minutes of music that any mainstream jazz lover can embrace.

https://www.allmusic.com/album/stan-getz-and-the-oscar-peterson-trio-mw0000191869

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Reseña

En ese año de gran avance del jazz moderno, 1957, Norman Granz se encargó de emparejar al legendario trío sin batería de Oscar Peterson con varias estrellas de la serie de conciertos de Jazz en la Filarmónica. En este caso, Stan Getz es el nominado, y Granz no podría haber encontrado una mejor pareja para el pianista junto a su incomparable combo que el maduro, maduro y bebopping saxofonista tenor. Fue un acuerdo de una sola vez, la única colaboración oficial entre Getz y Peterson, ampliada en esta edición de la serie Silver Collection con temas de la sesión completa, sin tomas alternas ni bonus tracks y grabada totalmente en monaural. A diferencia de Art Tatum, que nunca pudo restringir sus nociones para siempre soltarse, Peterson suena relativamente relajado en esta fecha, entendiendo que Getz tampoco iba a destrozar cada canción que tocara. Con el guitarrista Herb Ellis y el bajista Ray Brown, los miembros del cuarteto no sólo tienen toda la cohesión rítmica que necesitan sin un cronómetro formal, sino que interactúan de una manera que se acerca a lo telepático o mágico. En resumen, el cuarteto está en la zona como pocos grupos logran en un estudio. Pasan por una edición basada en el bop de "I Want to Be Happy", una esperanzadora adaptación de "Sweet Georgia Brown" titulada "Tour's End", y las impecables "Three Little Words" como si fueran un juego de niños. La fuerte guitarra de Ellis al estilo Kansas City cum Texas no se puede negar durante el "Bronx Blues", mientras Getz se encarga del aire campestre de la mermelada de una manera relajada pero céntrica. Durante la gran canción (escrita por Ellis) "Detour Ahead", que se escucha aquí en una versión instrumental post-Billie Holiday, el conjunto muestra una flexibilidad definitiva, realzada por el conmovedor pero firme agarre de la melodía por parte del saxofonista tenor. Aparte del cierre, "Blues para Herky", con una guitarra entrecortada de Ellis y una sensación tipo New Orleans, el resto del material consiste en baladas o melodías frescas de medio tiempo. Aquí es donde Peterson es más sorprendente, bajando el tono de su actuación, interpretando las canciones con la precisión de un cortador de diamantes, y usando sus agudas habilidades de escucha al máximo. Aquellos deslumbrados por el virtuosismo del pianista deberían escuchar más de cerca esta grabación para oír cómo su nivel de gusto es tan elevado como la monstruosa técnica que posee. Mientras "I Was Doing All Right" se acerca a un sonido de salón, la "Ballad Medley" de cinco tonos muestra a Peterson en su mejor momento, especialmente en su artículo "How Long Has This Been Going On". En este gran álbum para la época y para siempre, estos maravillosos músicos están en marcha desde el principio, proporcionando 60 minutos de música que no tienen precio y que cualquier amante del jazz puede abrazar.

https://www.allmusic.com/album/stan-getz-and-the-oscar-peterson-trio-mw0000191869

Tracklist:
1 - I Want To Be Happy - 7:35
2 - Pennies From Heaven - 5:13
3 - Ballad Medley: - (10:09)
3.1 - Bewitched, Bothered, And Bewildered
3.2 - I Don't Know Why I Just Do
3.3 - How Long Has This Been Going On
3.4 - I Can't Get Started
3.5 - Polka Dots And Moonbeams
4 - I'm Glad There Is You - 4:38
5 - Tour's End - 4:54
6 - I Was Doing All Right - 4:06
7 - Bronx Blues - 5:30
8 - Three Little Words - 6:39
9 - Detour Ahead - 3:38
10 - Sunday - 6:11
11 - Blues For Herky - 3:45


Credits:
    Bass – Ray Brown
    Guitar – Herb Ellis
    Liner Notes – Nat Hentoff
    Piano – Oscar Peterson
    Supervised By [Supervision] – Norman Granz
    Tenor Saxophone – Stan Getz

Label: Verve Records ‎– 827 826-2
Series: The Silver Collection –
Country: UK, Europe & US
Original Released: 1958
Genre: Jazz
Style: Bop, Hard Bop, Cool Jazz


Notes:
Recorded in Los Angeles, October 10, 1957.

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