The Swingin’ Side of Stan Getz

by | Jul 26, 2025 | Quartet/Quintet

Stan Getz was often called “The Sound” because of his warm, lyrical tone, due largely to the influence of the wispy, mellow timbre of his idol, Lester Young. He elicited from his tenor sax a luxuriant tone, which made Stan a natural to spread the sound of cool jazz in the ’50s, and furthered the bossa nova explosion of the ’60s of which he was a centerpiece.

We have become accustomed to hearing a very mellow Stan Getz, as exemplified by his definitive rendition of Desafinado (top right) … bossa nova at its best, with Joanne Brackeen on piano, Clint Houston playing double bass, and Billy Hart on drums. Just (below that) Getz continues in a mellow mood, as he is joined by Chet Baker on Dear Old Stockholm, not too surprisingly recorded in Sweden, in 1983.

A bit less usual Stan swings out on the old favorite Slow Boat To China, with Kenny Barron playing piano, Alex Blake on bass, and Terri Lyne Carrington on drums (just left), performing at the Munich Philharmonie Hall in Germany, in 1990. And, finally, Getz once again lights it up, joined by Chet Baker … also featuring Jim McNeely at the piano, George Mraz on bass, and Victor Lewis playing drums (bottom) on Miles Davis’ Milestones.

Dizzy Is as Dizzy Does

by | Jul 19, 2025 | Quartet/Quintet, Vocal

John Birks Gillespie earned the name “Dizzy” with his playful, even mischievous behavior both on and off stage … his bent-bell trumpet is sort of a reflection of that off-beat character, although its ‘birth’ was accidental. One day someone fell over his horn, and he liked the new sound so well that he had his trumpets constructed with that special bend from then on. Gillespie’s effect on jazz can’t be overstated; his trumpet playing influenced every player who came after him. His compositions have become part of the jazz canon, and his bands have included some of the most significant names in the business. During the early 40s, along with Charlie Parker, Dizzy was one of the major leaders of the bebop movement.

On (top) is a 1951 Gillespie jazz standard, Birk’s Works. Most often heard with a big band, this quartet arrangement has Dizzy on trumpet, Ray Brown on bass, Ed Cherry playing guitar, Tommy Campbell at the drums, and Valerie Capers playing piano. It was recorded in Belgrade in 1981.  While I’m not a huge fan of scat singing, this one had to be shared. Gillespie is joined at the 1985 Jazz Festival in Bern by James Moody (bottom) to give even Mel Torme a run for his ‘scatting’ money on Oop-Pop-A-Da. They’re backed by Gene Harris on piano, Ray Brown playing bass, and Grady Tate on drums.

 

Basic Basie

by | Jul 12, 2025 | Quartet/Quintet, Septet/Octet, Solo/Duo

In 1950, due to economic pressures, Count Basie disbanded his 16 piece orchestra in favor of a septet, and other smaller combos such as a quintet, quartet, and even a trio. He missed the big band sound and in 1952, as things improved, he reformed the orchestra we are more accustomed to hearing. Mark of Jazz featured the quartet on August 30, 2024 … this post is a kind of sequel to Basie’s ‘between the big bands’ era.

The septet consisted of Count Basie at the piano, Clark Terry playing trumpet, Buddy DeFranco on clarinet, Wardell Gray on tenor, Freddie Green playing guitar, Jimmy Lewis on bass, and Gus Johnson at the drums. (Topmost) these future stellar artists join together on Basie’s own One O’Clock Jump. (Just below that) the dazzling Cleveland Eaton is featured on double bass, in a quintet setting, on Booty’s Blues. Finally, (below) is The Count Basie Trio at the 1977 Montreux Jazz Festival, with Ray Brown on bass and Jimmy Smith on Drums.

Sweets for the Suite

by | Jul 5, 2025 | Big Band, Quartet/Quintet

Harry “Sweets” Edison came to prominence as a soloist with the Count Basie Orchestra, and as an occasional composer/arranger for the band. His most notable contribution was as a Hollywood studio musician, whose muted trumpet can be heard backing any number of famous singers, most notably Frank Sinatra. It was Lester Young who gave him the nickname “Sweets” because of his sweet style of playing. It started out as “Sweetie Pie,” was eventually shortened to “Sweets,” and has stuck as Edison’s trademark moniker to this day.

(Top left) is Lester Leaps In, recorded in 1990 together with Billy Mitchell (ts), Paul Kuhn (p), Major Holley (b), and Butch Miles (d). (Lower left) “Sweets” slows things down with Willow Weep for Me, featuring that mellow muted sound that earned him his nickname. Finally, (at the bottom) Edison joins the Louie Bellson big band in 1992 with the tune Sweet Tooth.