BEFORE THE Bossa Nova, there was this:
When I was haunting venues to see Stan Getz live around Southern California in his later years, he’d always announce his (required) bossa nova medley this way: “Now, I’m going to play Dis Here Finado” He’d pause for the laugh which always followed and then he’d sail into Antonio Carlos Jobim’s “Desafinado” followed by a tightly edited/quick roundup of the bossa nova “chart-toppers” that ultimately made him world famous. What became clear was he knew he had to — but he spent the bulk of these evenings going way, way back into tunes that he’d cut his teeth on, or pieces that in some way reflected what was on his mind at the moment. (Every show I attended for years and years included the pensively beautiful Billy Strayhorn composition, “Blood Count.” It was one of Strayhorn’s last works, as he was battling cancer — and so too, at the time of these So. Cal dates, was Getz.)
Here are a few early resonant cuts that if one was lucky Getz would reach back to. These are some (not all) of my very favorites:
The first two sessions I’m posting are from recording dates in the early 50s: dates and personnel below.
From Stan Getz, Quartets, 1950 :
1) There’s a Small Hotel (Richard Rodgers / Lorenz Hart)
2) What’s New? (Bob Haggart / Johnny Burke)
Personnel: Stan Getz (tenor sax), Al Haig (piano), Tommy Potter (bass), Roy Haynes (drums)
From “Stan Getz Plays”
Personnel: Stan Getz (ts) Jimmy Raney (g) Duke Jordan (p) Bill Crow (b)
Frank Isola (ds)
Recorded: NYC, December, 1952
This piece is magical — and I won’t say much. Don’t need to.
and the lagniappe:
(and thanks John, for making the request. It was nice to dip back into this)