Posts Tagged ‘Stan Getz

13
Sep
19

Sonny Criss / Gerald Wiggins / Erroll Garner / Stan Getz

The reason I have a random system to choose records to write about is because if I didn’t I’d never get to one like this where it’s a nightmare to even know what to call it much less to alphabetize it or catalog it. Those four jazz musicians are listed on the cover, but that’s all the information we get. The actual label lists those four names, but in a different order, and also includes Wardell Gray. What the fuck, people, I give up. It’s a Crown Records release from 1963 with two songs on each side, jazz, of course, and I guess it would be considered be-bop. It’s kind of a classic thrift store record because no one can sell it for anything and the cover isn’t even interesting, just the four names in various colors. There may have been some insert or info on a sleeve, but it’s gone now, if it existed. The back cover is just a Crown Records catalog in tiny print—kind of fascinating in itself, just to see all these records listed and categorized. But who is playing what on this one, I have no idea. I’d be tempted just to funnel it back to the thrift store, except you can just put it on and enjoy listening to it. Each song has a full combo, so I have no idea who else is playing, or who is playing on what or not playing. There’s also drums and bass, naturally, but also guitar and vibes on some songs. I’m sure some jazz expert could tell me, but I don’t really care, when it comes down to it. I’d rather know who was drinking coffee and who was drinking wine, who was smoking, and who was eating bagels.

The second side is a couple of standards, “Hot House,” and “How High the Moon,” with both songs sounding like they’re recorded live, and murky as hell. Not unlistenable, I guess, that is if you’re in the mood for murky bullshit. The first side, though, sounds like studio recordings, very crisp, well-recorded, great recordings. Good songs, too, that I don’t know—the first is called “I’ll get Away” and the second, “Miss Beat”—I didn’t immediately find anything about them on the internet, but didn’t dig too deeply. I asked Siri what each song was, and she named them, but instead of listing an artist, she gave me some squiggly lines. “What’s that all about?” I asked Siri, but she didn’t answer that, and instead gave me some sarcastic hipster bullshit talk. I asked a friend who said it’s probably Japanese. He’s not Japanese, though, and doesn’t read Japanese, but it’s a good bet, I suppose, so I’ll go with that. It’s not like we’re identifying mushrooms in the wild or anything. I’m thinking these songs were released on some kind of Japanese re-release, and that would explain that. Kind of. I also asked Shazam, and it got the first one, but told me the second one was “Photon” by Deetron—uh, I don’t think so—I don’t know who that is, but it’s emphatically not this. So I guess I’m just going to let this record’s mystery reign, and maybe some day some info will come to light, but I’m not holding my breath. Well, I might be—holding my breath—but that’s another story, and not related to anything about this record.

06
Dec
17

Stan Getz “Reflections”

This is a 1964 Stan Getz record, with “arrangements by Claus Ogerman/Lalo Schifrin” on Verve Records—11 short songs (I wish they were all longer!)—all really nice—what would be a great make-out record, except you have to get up too often to turn it over—but that’s one of the drawbacks of records, in general, for making out. I don’t know why this made me think about making out—I was not thinking of that; I suppose it’s because there is certain evocative appeal of these songs, and these arrangements, and this playing; that tenor sax is so out front at times it’s almost obscene. Or maybe it’s the songs with the choral arrangements, that sound like a movie (some of it is, such as Charade)—from a pre-rock’n’roll corner of the Sixties—a montage with beautiful people driving in a sports car with the top down, Cary Grant with a sick tan, or maybe Tony Curtis acting semi-inappropriate.

The cover has Stan Getz (I assume; he looks like that one character actor, you know, Jimmy Stewart’s cop friend in Rear Window) lying on a hillside in a seersucker jacket, smoking a cigarette, with an expression of either cool or defeat. It looks to me like the art department blacked out the area directly behind him so he wouldn’t just blend in with the grass, but it ends up looking more like we’re seeing a cutaway of him entombed in a fairly spacious grave. If you were to interpret it that way, you might interpret his expression as “not giving a shit.” You could even imagine this cover as one of those early anti-smoking ads, except he doesn’t look miserable enough, even for a man buried alive. Seeing how the album is titled “Reflections,” I’d have to say he’s… reflecting.

There are some serious liner notes on the back (three columns) by Jack Maher—I’d like to read it all, but maybe tomorrow after coffee. Okay, it’s now the next day. Have any of you reached the point in your life where coffee really does nothing as far as keeping you awake? I mean, it works in that it makes me feel normal, but say, to keep awake while reading three columns of text on the back of an album… no. Isn’t it great that someone would think it was cool to put three columns of text on the back of this album? I’d love to read it all, discuss it intelligently, but I don’t really feel like doing any kind of research right now. I know Lalo Schifrin from film scores, but I don’t know much else. I don’t know the Bossa Nova from a Chevy Nova, and I think the Samba is a pocket of dough, deep-fried and filled with something delicious. I read somewhere that everyone was all pissed off at Getz for “selling out” with this record—and I kind of love that idea, in its quaint sincerity—kind of like the folk people getting mad a Dylan for “going electric.” It’s a good reminder for anyone, in any time period, to step back and realize that even if you could look into the future, you have no idea just how bad things can and will get.




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