Stan Getz:The 1953-54 Norgran Studio Sessions (4 LPs)(#3003)

Mosaic Singles

 

Stan Getz:The 1953-54 Norgran Studio Sessions (4 LPs)(#3003)

"Like many of his generation, Getz was drawn to the subdued, airy tone and relaxed phrasing of Lester Young, and found a way to combine it with the advancements of bebop. His triumph was in forging a musical signature that remained fresh and stylistically flexible, even as new styles and musical ideas came and went." - Ashley Khan, liner notes

This set is on backorder and is expected to be available in 2015

Limited Edition: 5000 copies

4 LPs (180 gram) -  $100.00

ADD TO WISHLIST

You May Never See This Again

Gaps. We hate them. We admit it, we’re completists, and we can’t tolerate inaccurate personnel logs, song edits imposed on artists, or sessions split up over scattered LPs. We’re compelled to jump in and fix the errors and re-create mis-handled recording dates.

Our Stan Getz Quintet box with Jimmy Raney – one of Mosaic’s earliest sets and out of print nearly 20 years -- was an example of our efforts to clean-up an important body of music that over time had been re-issued haphazardly, and with substandard sound. More recently, when we learned that Getz’s Norgran Studio recordings were coming out on CD, we thought: - shouldn’t LP enthusiasts get the Clef/Norgran set in full, sumptuous Mosaic editions, on 180-gram audiophile LP?

Chronologically, these sessions for Norman Granz fell just after the quintet dates with Raney, before Getz had risen to the dizzying heights of extreme popularity and when he was still basking in the glow of his stint as part of Woody Herman’s Four Brothers saxophone section. Released on the Clef and Norgran labels just at the transition from 10-inch to 12-inch LPs, the tracks got recycled on Verve across many records, were combined with other songs from other dates, or were forgotten entirely.

Includes Un-released Tracks

Now, for the first time in decades, they are available again on LP. Three alternate takes buried in the vaults, and a recording of “Pot Luck” initially released on 78 only, appear on LP for the first time ever. It’s a great retrospective of the music of a man who reached an almost unparalleled position in jazz and widespread, international celebrity.

Getz’s relationship with Norman Granz began almost the night of his first big break as a leader, at a Carnegie Hall tribute to Duke Ellington. Performing an up-tempo version of “Moonlight in Vermont,” his easy-listening hit with Johnny Smith, Getz commanded the attention of jazz fans. With Granz, Getz would prove to be highly prolific. And the music? Some of the finest he would make in his career.

As a child, Getz would practice up to eight hours a day, and he even tried to drop out of school to pursue music full time. He had to re-enroll, at least until the age of 16 when he joined Jack Teagarden’s band. Other bands, including Woody Herman’s, would follow, but Getz was a leader from the time he turned 23.

Born the year Lester Young was striking out on his own, he created a modern version of his idol’s innovations on tenor saxophone. His touch was delicate, intimate, and caressing, but there was more drive.

Influenced a Generation

While his technical mastery of the instrument was second to none, Getz avoided the showy excesses of bebop and remained true to his roots with a lyrical approach and a coy manner of dragging the beat. He would become an influence himself on a generation of musicians seduced by the “cool” jazz movement -- the reaction to bop.

The group on these Norgran sessions was a real working band, and valve trombonist Bob Brookmeyer’s soloing ability was up to the task of matching Getz’s standards. His musical pairing with Brookmeyer was one of those inspired arrangements that produced exceptional music. Brookmeyer’s tone was warm and dry, like Getz’s, but the blend they created was only partially about the sonic affinity they shared. They were entirely on the same wavelength when it came to developing and expressing musical ideas – almost like the same guy picking up a different instrument. Credit Getz’s personal sound and free-flowing musical ideas for what identifies this music, but not without equal credit to the byplay with Brookmeyer.

The quintet of this era also included the excellent John Williams on piano, and briefly after Brookmeyer left to join Gerry Mulligan, Tony Fruscella on trumpet. Drummer Al Levitt or Frank Isola and bassist Bill Crow, Teddy Kotick or Bill Anthony round out the line-up. Our set also includes an excellent quartet date with Jimmy Rowles, Bob Whitlock and Max Roach recorded midway through the quintet’s life.

As was common on Granz projects that often featured highlights of the great American songbook, there are many well-known selections included in this release, such as “It Don’t Mean a Thing (If It Ain’t Got That Swing),” “I’ll Remember April,” “Give Me The Simple Life,” “Willow Weep For Me,” “We’ll Be Together Again” and many more.

Four LPs comprise our box set, with 26 tracks arranged by session and accompanied by our exclusive Mosaic booklet. It includes an essay by Ashley Kahn with track-by-track analysis and a complete discography. Photos from the era capture the magic as they were making it. . The 180-gram pressings of this 4-LP set were mastered from analog sources using the original Clef/Norgran master tapes for unparalleled sound.

Much of this music has been unavailable for decades, and to LP buyers, never before released in coherent form. So – we’ve closed another gap. It’s a rare opportunity to hear a young, acknowledged master in top form. Please reserve a copy of this exciting, highly collectible set to avoid a gap in your collection.




Read More About Stan Getz:
Track Listing, Personnel & Recording Dates »



CUSTOMER REVIEWS

Click here to write a review

  excellent early Getz
This set of fine early Getz sessions for Clef is highly recommended. Playing with effortless ease he mixes well with Brookmeyer on the majority of tracks. The music requires close attention as Getz doesn’t exactly reach out and grab the listener but there are great tunes, collected together here for the first time. Sound quality and pressing quality of this issue are excellent. The sound is obviously mono but is full and clear. The tracks with Fruscella are an added bonus.
 

Stan Getz:The 1953-54 Norgran Studio Sessions (4 LPs)(#3003)
Stan Getz:The 1953-54 Norgran Studio Sessions (4 LPs)(#3003)
Limited Edition: 5000 copies
4 LPs (180 gram) - $100.00


Customer Reviews:


Read More Reviews »

More Info

Discography

Audio Clips

Play: Don't Mean A Thing
Play: Pot Luck
Play: Willow Weep For Me

Special Sales
Last Chance Offerings
Noteworthy Jazz News



Recommended Box Sets

Thelonious Monk (4 LPs)

Monk was at a particular high point pianistically during this live set. Mosaic has returned to the original three-track tapes and mixed them done to beautiful sounding analog stereo masters, presenting the six sets they played that night as they happened.

Ella Fitzgerald & Duke Ellington (3 LPs)

You really never know how music festival special events will turn out. For the audience, there can be an electric charge in the moment, hearing favorites in unfamiliar pairings. In retrospect rarely do you experience anything explosive. That was not the case in 1966 when Ella Fitzgerald met Duke Ellington, for the final time in their careers.

Stan Getz (4 LPs)

Four LPs comprise our box set, with 26 tracks arranged by session and accompanied by our exclusive Mosaic booklet. It includes an essay by Ashley Kahn with track-by-track analysis and a complete discography. Photos from the era capture the magic as they were making it. The 180-gram pressings of this 4-LP set were mastered from analog sources using the original Clef/Norgran master tapes for unparalleled sound.

Clifford Brown & Max Roach (4 LPs)

In the words of liner note writer Bob Blumenthal, “the Clifford Brown/Max Roach Quintet created one of the very greatest string of small-group recordings in jazz history, worthy of consideration alongside the Hot Fives and Sevens of Louis Armstrong and the quintets of Charlie Parker and Miles Davis.”

John Coltrane (3 LPs)

The Complete Sun Ship Session is sourced from newly discovered original reels, the set includes the album's five original compositions, unedited, in sequence of recording, with all of the takes as they evolved, as well as the surrounding conversations. More than just a sampling of a few alternate takes, the Complete Session offers a rare opportunity to eavesdrop on an iconic master at work.

Roland Kirk (4 LPs)

These four albums were recorded at some of the finest studios in the New York City area including Nola Studios and Capitol Studios. “Rip. Rig And Panic” and “Now Please Don’t You Cry, Beautiful Edith” were two of the three times that Kirk recorded at the famed Van Gelder Studio in Englewood Cliffs, New Jersey (the first was his one Prestige album with Jack McDuff). All four of these albums have been mastered from their original analog masters by Ryan Smith at Sterling Sound in New York City. This is the first Mosaic set to be pressed at Chad Kassem’s Quality Record Pressings in Salinas, Kansas. About the pressings coming out of QRP, Michael Fremer wrote on TrackingAngle.com,” all I can say is THIS IS INCREDIBLE!!!!!!

Louis Armstrong (4 LPs)

The original 3 track tape of The Complete 1956 and 1958 Newport live sets were used as a source and the sound is impeccable. Restoration engineer Andreas Meyer has brought these important performances back with much clarity to make you feel like you’re soaking up the music in a lawn chair while breathing in the air of Narragansett Bay.

Thelonious Monk & John Coltrane (1 LP)

These two 25-minute, five-tune sets feature the quartet in great fidelity and unbelievable form. The empathy and invention of the group here far surpasses the Riverside session, made months earlier. Playing together every night for 18 weeks sharpened the skills and interaction of these brilliant musicians. Monk's piano playing has never sound like this; his arpeggios are virtuosic and each note rings with clarity on the Carnegie Hall piano. Coltrane had fully mastered Monk's music by this time.

Francis Wolff

Limited Edition Photographs


Selected images became the album cover shots for Blue Note's brilliant designer Reid Miles, and are instantly recognized by millions. Now, museum-quality prints in limited editions can be owned forever... But only by a few.

Each image will be made available for one month only. At the end of that month, only the images ordered will be printed and that will be the end of the Limited Edition.