STAN
GETZ/DIZZY GILLESPIE/SONNY STITT – For
Musicians Only
American Jazz Classics 99106
Tracks 1 to 5
Stan Getz ( tnr ) Dizzy Gillespie ( tpt ) Sonny Stitt ( alto ) Herb Ellis ( gtr ) John Lewis ( pno ) Ray Brown ( bass 0 Stan Levey ( drs )
Recorded Los Angeles, 16th October 1956
Tracks 6 to 9
JATP All Stars-collective personnel
Stan Getz ( tnr ) Roy Eldridge ( tpt ) Coleman Hawkins ( tnr ) Dizzy Gillespie ( tpt ) Herb Ellis ( gtr ) Oscar Peterson ( pno ) Ray Brown ( bass ) Gus Johnson ( drs )
Recorded Paris, France, 1st May 1958
Tracks one to four were issued some years ago under the same title, track five is an alternate take of “Dark Eyes”. The balance of the tracks are music fro the film “Les Tricheurs” played by a contingent of musicians from “Jazz at the Philharmonic”.
The album kicks off with Dizzy Gillespie’s “Bebop” which is a typical bop tune which is of a certain era, Sonny Stitt takes the first solo which contains many of his Charlie Parker licks followed by Gillespie using his mute to burble his way through his solo, Stan Getz livens things up a little but the track doesn’t produce anything to set the world on fire.
The second track “Dark Eyes” is a different proposition, Getz opens the proceedings with a stunning hard swinging solo and although he is having reed trouble this only adds to the excitement. The tension lessens when Sonny Stitt takes over and although his solo is competent enough it doesn’t reach the heights of the Getz solo. Dizzy’s sol being much more fluid.o is a big improvement on his effort on the first track The alternate take of “Dark Eyes” lacks the excitement of the issued take but does have it’s moments.
Drummer Denzil Best wrote “Wee” which is also known under the title “Allen’s Alley” which has had plenty of exposure under both titles, is taken at a fairly fast tempo and none of the frontline players sound comfortable and don’t produce much of value.
“Lover Come Back To Me” is also taken at a fast tempo but the players seem more relaxes and their solos are much improved particularly the Getz contribution.
All the tracks on the album are long the shortest being eight and a half minutes and although this is not the best the musicians have produced there is much to be savour and enjoy.
The additional tracks are a different proposition with Oscar Peterson fronting the rhythm section with Stan Getz and Roy Eldridge in the frontline on “Les Tricheurs” both Getz and Eldridge producing good solos in front of the four square rhythm section. “Clo’s Blues” is a solo outing for Coleman Hawkins nad it is good late Hawkins with that big tone which is his trademark. “Phil’s Tune” is given over to Roy Eldridge who gives a nicely contained performance. It’s Dizzy’s turn on “Mic’s Jump” with has a swinging introduction from Oscar Peterson followed by a Dizzy at his most fluent and swinging.
On balance this album has plenty to follow and does not have the best work by these musicians it is well worth a listen as they do not make albums like this anymore.
Reviewed by Roy Booth
American Jazz Classics 99106
Tracks 1 to 5
Stan Getz ( tnr ) Dizzy Gillespie ( tpt ) Sonny Stitt ( alto ) Herb Ellis ( gtr ) John Lewis ( pno ) Ray Brown ( bass 0 Stan Levey ( drs )
Recorded Los Angeles, 16th October 1956
Tracks 6 to 9
JATP All Stars-collective personnel
Stan Getz ( tnr ) Roy Eldridge ( tpt ) Coleman Hawkins ( tnr ) Dizzy Gillespie ( tpt ) Herb Ellis ( gtr ) Oscar Peterson ( pno ) Ray Brown ( bass ) Gus Johnson ( drs )
Recorded Paris, France, 1st May 1958
Tracks one to four were issued some years ago under the same title, track five is an alternate take of “Dark Eyes”. The balance of the tracks are music fro the film “Les Tricheurs” played by a contingent of musicians from “Jazz at the Philharmonic”.
The album kicks off with Dizzy Gillespie’s “Bebop” which is a typical bop tune which is of a certain era, Sonny Stitt takes the first solo which contains many of his Charlie Parker licks followed by Gillespie using his mute to burble his way through his solo, Stan Getz livens things up a little but the track doesn’t produce anything to set the world on fire.
The second track “Dark Eyes” is a different proposition, Getz opens the proceedings with a stunning hard swinging solo and although he is having reed trouble this only adds to the excitement. The tension lessens when Sonny Stitt takes over and although his solo is competent enough it doesn’t reach the heights of the Getz solo. Dizzy’s sol being much more fluid.o is a big improvement on his effort on the first track The alternate take of “Dark Eyes” lacks the excitement of the issued take but does have it’s moments.
Drummer Denzil Best wrote “Wee” which is also known under the title “Allen’s Alley” which has had plenty of exposure under both titles, is taken at a fairly fast tempo and none of the frontline players sound comfortable and don’t produce much of value.
“Lover Come Back To Me” is also taken at a fast tempo but the players seem more relaxes and their solos are much improved particularly the Getz contribution.
All the tracks on the album are long the shortest being eight and a half minutes and although this is not the best the musicians have produced there is much to be savour and enjoy.
The additional tracks are a different proposition with Oscar Peterson fronting the rhythm section with Stan Getz and Roy Eldridge in the frontline on “Les Tricheurs” both Getz and Eldridge producing good solos in front of the four square rhythm section. “Clo’s Blues” is a solo outing for Coleman Hawkins nad it is good late Hawkins with that big tone which is his trademark. “Phil’s Tune” is given over to Roy Eldridge who gives a nicely contained performance. It’s Dizzy’s turn on “Mic’s Jump” with has a swinging introduction from Oscar Peterson followed by a Dizzy at his most fluent and swinging.
On balance this album has plenty to follow and does not have the best work by these musicians it is well worth a listen as they do not make albums like this anymore.
Reviewed by Roy Booth