Stan Getz, he is Stanislav Gaitsky

“Stan Getz played on a saxophone, on a tenor-saxophone, although the word“ played ”in this case sounds pale. It has no intensity and strength in order to describe an intimate relationship between the musician and his instrument. The saxophone was part of himself, as if it were his own voice. And at the same time, if he were born in another era and in another civilization, this meeting would not have happened. If the pogroms of 1903 would not force his grandfather with a grandmother to flee from Ukraine without looking back, he might play on the faculty in a symphonic orchestra or on a clarinet in a vagabond orchestra at peasant weddings. It is possible that he would have died of hunger in the first years of Soviet power or would die at the beginning of World War II. That is, if he had not grown in poverty in New York of the 30s, his music, his life would be completely different. And the phenomenon, which we call the "walls of the hets" simply would not exist. "

Dave Jelly “Nobody Else But Me”, BackBeat Books 2002, San Francisco.

1. Stan Getz - Lady Day - 6:00 (Stan Getz - The Jazz Masters - 100 Ans de Jazz - Mandarim RDS)

DS: - “Lady Day”, that is, Billy Holide, the composition of Wayin Shor. Stan Getz-tenor Saxophone; Andy Liveren - Royal; Brian Bromberg - double bass; Chuck Loib - guitar and Victor Jones - drums. European tours of the hetz. Irish company "Mandarim RDS". It was not possible to set the date. Again-disk compilation.

Stanley, Stanislas, Gaitsky, he was born on the same day as Sonny Styt, about whom there was a conversation in the past “Jazz Time”, but three years later and not in Boston, but in Philadelphia. His father did not dine for a year, saved money to buy a saxophone to his son. The family did not know about this. The first Saxe Stan was a silver alt-saxophone dull green, color, as if he were covered with mold. Before Sax, Stan played on a labial harmonic, at a double bass, on a piano, without problems he learned a musical literacy. He could read anything from the sheet, but he could remember the melody and by ear. In short, with young nails he was a child prodigy, and his poor immigrant parents were well aware of this.

2. Stan Getz - My Foolish Heart - 5:54 (Stan Getz - My Foolish Heart: Live At the Left Bank - Label M)

DS: “My Foolish Heart”, “My Stupid Heart” - the standard of Nead Washington and Viktor Yang. Stan Getz-tenor Saxophone and leader; Richie Bayrah - piano; Dave Hallnd - doublebas and Jack Devzhonett - drums. The record was made on May 20, 75 at The Famous Ballroom in Baltimore. A year before the concert, the Getz recorded a magnificent disc with the trio of Bill Evans “But Beautiful” and the rhythm group in this play (“My Silly Heart”) follow the traces of Evans and the Ghetz. But both disks are good ... You will see for yourself.

The story of jazz at the frequencies of "Freedom". From the early days of Big Easy-New Orleans, to St. Louis, Chicago and Kansas-City, to New York and the western coast, to Europe and Japan ... From Ragtaym and Blues, from Dixieland to Bug and Strayd, from large pre-war orchestras to small youth combo, who have replaced jazzmen who have gone to the war, to Bibopa and Bibop Kula, the third course and the avant -garde, to the fusion and, finally, the World Music, jazz, impregnated with folklore of hundreds of countries. You can find the periods of development of jazz and its genres that interests you, as well as the latest issues of Jazz Time, on our website www.svoboda.org . The microphone in Lutetia has your ds.

3. Bill Evans Trio - You and the Night and the Music - 7:24 (Bill Evans Trio (Feat. Stan Getz) - But Beautiful - Milestone)

DS: “You and the Night and the Music”, “You are both night and music” - Arthur Schwartz. Stan Getz-tenor Saxophone; Bill Evans - Royal; Eddie Homez - double bass and Marters Morell - drums. August 74, the Netherlands.

Stan Getz learned to play on the faculty when a place was freed in the school orchestra. His teacher was Simon Kovar-the best player on the faculty of the New York Philharmonic. At the same time, Stan worked as parties at parties, weddings and Jewish holidays, playing his green alt-saxophone. He was paid three dollars a day and for 41 years old it was good money for a fourteen -year -old guy. He gave the part to his mother and it was impressive help to the family, parted to buy a tenor-saxophone. Judging by his late memories, he almost from childhood felt responsible for his family. Moreover, his father was rather a loser and a very modest entrepreneur. In these memoirs, you feel the desire to thank the father for a whole year spent without lunch. It was difficult to forget the green saxophone ...

4. Connie Evingson - You and the Night and the Music - (Connie Evingson - Gypsy in My Soul - Minnehaha Music)

DS: - “You, night and music - you fill me with fire with desire, setting fire to my whole life! Morning can be inaccurately without warning and drag the stars with them. We must live for such moments, but, tell me, when the music is silent, will you be mine? ”

Question! The song was written in 1934 by Arthur Schwartz (music) and Houard Dais for the Broadway musical "Revenge with Music". The musical withstood 157 performances and died, but the song of Schwartz and Ditz became the standard.

Connie Ewingson - vocals and combo “Clearwater Hot Club”, 2004.

Here is the answer to your question, dear Alexander Tecenshtein, why are all these dates are needed? How do you write: “Jazz is out of time” ... Among the listeners are a huge number of neophytes. And it is important for starting to understand at least the fact that Connie Evingson lives and sings in our era, and not in the era of Stan Ghetz and the late Billy Holide. Dates are needed, as the geography of events is needed: the new Orleans differs from Kansas City, and Chicago from New York and the West Coast. In the late Sorokovs, the trumpeter Miles Davis was recorded, and in the later seventies - he, but in fact another trumpeter. For veterans, and this is true, “jazz out of time”, but precisely because they know all its stages. The rest we wish patience. History will put everything in its place.

ID-3 four best discs of February are named: Joe Lovanov "Cross Culture"; Whitout a NET, that is, “without insurance”, that is “without insurance”; The compact of the drummer Manu Katche, simply named by his name and the Stanley Cowello disc “Time”, “It's Time”. I am especially interested in Wayne Shorter sd, because Wayne for the first time after 43 years of separation returned to Blue Note.

Perhaps the most overwhelming February announcement is the poster of the gray -haired and gray -bearded Sonny Rollins, who at the age of 82 announced a concert in the center named after Kennedy - on Friday on March 29 at eight in the evening. At the posters of Sonny Rollins, it was shot in full growth in profile in a bright scarlet frock coat and, of course, with a saxophone in his hands.

And the last news today from USA is the February number of Daunbite dedicated to Dave Brubek. He died in December, when the January number, given the upcoming holidays, was already oversized. The essay “The amazing life and era of Dave Brupk” is written for the monthly John McDonof.

In the snow -heated hut brought by snow, on the beach in the Emirates, in the kitchen of one of the countless Russian outskirts or on duty in non -hazardous and in the darkness of an immersed institution, you listen to the weekly and lead “jazz time”. On short "freedoms" or from our site www.svoboda.org . The microphone in Paris has Dmitry Savitsky.

A small jump into the future of Stan Ghetz, in Stockholm 83 years old. Stan Getz himself, instead of me, announces the composition:

Getz & Baker - Dear Old Stockholm - 6:00 (Stan Getz - Line for Lyons - Gazell)

DS: - “Dear Old Stockholm”, “good old Stockholm”. The topic itself is the arrangement of the Stean Getz Swedish (who became folklore) of Anders Fricksel's song “Oh, dear vermland ...”. Vermland is a small province of Sweden, bordering in the West with Norway. This latest version of the song became extremely popular in jazz; She was performed by Miles Davis and John Coltrain.

Here is the composition that the hetz himself announced: the guest of the Quartet Chat Baker is a pipe; Stan Getz - leader and tenor -saxophone; George Mraz - double bass and Victor Lewis - drums. February 18, 83, Stockholm Theater "Shtra".

In passing, I will note that Stan Ghetz had quite stretched, cold relations with Chat Baker. But on this disk “Line for Lyons” and it was in this composition of the same name that the duet Stan and Chet of the same name was a success at one hundred percent.

6. Stan Getz - The Peacocks - 5:39 (Stan Getz - The Peacocks - Columbia)

DS: “The Peacocks”, “Peacocks” - the composition of the pianist Jimmy Rouls, he is James George Hunter. Vinyl of the Getz “peacocks”, published on Kolambia, “peacocks”. The wonderful duo of Stan Ghetz with Jimmy Rowls, as Scott Yanou writes "with this underestimated pianist and a wonderful accompanist." July 75.

Today I miss the listing of numerous steps, at which I first climbed, and then went up by Stan Getz. From Jak Taggarden, Stan Kenton, Jimmy Dorsi, Benny Gudman to the “four brothers” of the Woody Harmean orchestra and the first of his own combo. We, I hope, will still have time to return to the work of Stanley Gaitsky. I can only say that from 51 years he begins to play in Europe, later settles in Sweden, returns to the States, records with Dizzy Gillespi, Herb Ellis, Oscar Peterson, Jerry Malligan Chat Baker, Bill Evans, and later with less famous pianists, Livi Barron Barron, Alberta Daily, Joanne Brackin, Andy Lavern, Jim McCeli and the same Jimmy Rowles.

In 1988, due to illness, he sharply cuts off European tour: liver cancer. A month later, he arrives in Europe for the last time with a new quartet, after which he returns home to Malibu, California, where Stan Getz dies on June 6, 91. He was 64 years old.

Stan Ghetz had two nicknames: Sound, Sound and Steamer - literally a steamer. “The first nickname The Sound, the sound,” writes Janou, “was more than justified: the hetz had an unheard of a beautiful tone, sound ...” The second, The Steamer, is more likely to be the period of his greatest activity, which was often fed with alcohol and drugs. Stan Getz played under the influence of Leicester Yang, that is, in the manner of the opposite school of Cowlman Hawkins. But already in the early fifties, the hets began to sound on his own, he could not be confused with anyone.

The finish line of your personal weekly jazz. You can listen to us on short "freedoms" and from our site www.svoboda.org . The microphone in Paris has Dmitry Savitsky.

7. Stan Getz - Desafinado - 5:50 (The Girl from Ipanema - The Bossa Nova Years - Verve)

DS: - “Desafinado” Antonio Carlos Zhobim. Stan Getz-Tenor Sax; Charlie Bird - guitar; Jin Bird - double bass and Baddy Deppenshmitd - drums. February 13, 62, Pierce Hall, Washington.

This entry is another important detail or, rather, a period of creativity and a musical career of the hettz. He helped Samba and Bosanov to penetrate the territory of North America and is considered to be almost godly Bosanov in the States. Stan recorded with Charlie Burd Jazz Samba disc. The interpretation of the composition of Antonio Carlos Jobim “Desafinado”, which you heard, turned the disc into a giant hit. Stan Getz continued to record Brazilian music with Laurindo Almeida and Louise Bonf. The peak of his Brazilian period and the bestseller was Vinyl "Getz/Gilberto". The rhythms were unusual and new for Stan Ghetz. The commercial success, and the hettz still had a family and it was important, was colossal. But Stan did not want the label of the American Father Bosa to stick to him forever. And he with difficulty, but left Kopakaban and Bayia.

The hetz's favorite disk was, a year recorded a year earlier than his Brazilian debut. He went out in October 61 on Verve. This is a hetz with the Eddie Soter orchestra. In style, this is the third course and, frankly, something else. Soter wrote music and arrangement, and Stan Ghetzu - it was only possible to improvise against the background of the string ensemble, improvise, literally, on the go.

The Focus was recorded at a difficult moment for the hettz: he was absent for too long, lived with his family in Sweden, and at that time there were too many giant events for jazz: modal jazz, soul, hard bop and frear-jazz appeared. The shift was tectonic. It must be added that about the hetz himself, about the “sound” - they forgot slightly. And so he appeared with a new plate, without complexes, without a desire to catch up, prove, but rather, with completely new freedom ... The effect was stunning:

8. Stan Getz - I'M Late, I'M Late - 8:08 (Stan Getz & Orchestra - Focus - Verve)

DS: “I'M Late, i'm Late”, “I'm late, I'm late!” This composition of Eddie Soter literally copies the second part of the masterpiece of Bela Bartok “Music for the string ensemble, percussion and cheles”. Bartok was the first to recognize the talent of Eddie Soter, who dedicated this play to the master.

Hurses Kay was a conductor on this entry and led the string ensemble. Stan Getz was a guest from space with a saxophone in his hands. The record was made between September 14 and 28, 61, presumably in Webster Hall in New York.

On this we will leave the incredible Stan Ghetz: a talented, difficult, very difficult son of immigrants from tsarist Russia. It is generally accepted that white immigration was the first. She was the second. Immigration of the war years - the third; My personal fourth. So some articles and essays need to be amended.

You will find the podcast of this “time jazz” on our website www.svoboda.org . Fun and successful for you, Chao, Bai-Bai!