Featuring compositions and arrangements by film composer and jazz buff Michel Legrand, Stan Getz's Communications '72 is one in a long line of strings-and-voices albums the tenor saxophonist recorded. Starting with a Gunther Schuller-arranged session from 1955, Getz produced some impressive work in this context, with the incredible Eddie Sauter collaboration Focus standing out in particular. And even in the midst of some not-so-incredible backing on a few sets, Getz always comes up with impeccable solo statements. For his part, Legrand strikes an expert balance here among jazz combo, strings, and chorus, but the frenetic Swingle Singers-style choral parts don't always come off. While overpowering Getz on the otherwise lovely "Redemption," the vocal interjections sound too overarching in their mix of avant-garde and straightforward phrasing on "Outhouse Blues" and "Bonjour Tristesse"…

These are the first recordings ever released under the name of Stan Getz. Four Savoy sides from July 1946 constitute one hell of a debut as Getz gets off with the expert backing of Hank Jones, Curly Russell, and Max Roach. "Opus de Bop" and "Running Water" are dazzlers, while "And the Angels Swing" and "Don't Worry 'Bout Me" reveal Getz's often-noted Lester Young influence. Six sides cut for Bob Shad's Sittin' in With record label in October 1948 are especially satisfying on account of pianist Al Haig, electric guitarist Jimmy Raney, bassist Clyde Lombardi, and drummer Charles Perry. All six tunes were composed by Getz and demonstrate an obsession with bop formulae. "Frosty," also known as "Flugelbird," was recorded about a month later for Shad's other label, Jax…

This five-LP box set (which has been reissued on CD) contains nearly all of Stan Getz's classic bossa nova sessions, five wonderful yet diverse LPs (Jazz Samba, Big Band Bossa Nova, Jazz Samba Encore, Stan Getz/Laurindo Almedia, and Getz/Gilberto). The cool-toned tenor is heard on his groundbreaking collaboration with guitarist Charlie Byrd (which resulted in the best-selling "Desafinado"), is showcased with a big band arranged by Gary McFarland (introducing "No More Blues" and "One Note Samba"), stars in recordings with guitarists Laurindo Almeida and Luiz Bonfa, and is heard at the famous meeting with composer/pianist Antonio Carlos Jobim, guitarist João Gilberto, and singer Astrud Gilberto, which resulted in the major hit "The Girl From Ipanema." This essential set finishes off with three previously unissued performances from a 1964 Carnegie Hall Concert, concluding with a remake of "The Girl From Ipanema." These recordings stand as proof that it is possible for good music to sell.

In a three-year period, Stan Getz played with bands featuring either pianist Duke Jordan or a young Horace Silver. This is the boppin' Getz on tenor, playing standards fervently. There are two Gigi Gryce originals, the Getz original "Hershey Bar," and Silver's "Penny" among the 24 tracks. This is a decent introduction to the pre-bossa nova player the world would later know.

"It's a pleasure to be here" says Stan Getz, surveying the Californian landscape from the open-air stage he's performing on. "It's different to the dives I play in." And it clearly inspired this famously uncompromising saxophonist in the performance that's captured on this DVD-Video.The first set is chiefly made up of material by pianist Jim McNeely. who writes with a fine melodic touch, and it sets the great cool saxophonist off into a series of beautifully-shaped improvisations that will repay many viewings and listenings. Stan`s quartet also includes a scintillating rhythm team is bassist Marc Johnson, who had come from working with Bill Evans in the pianist's last trio, and drummer Victor Lewis…

On this splendid live recording from Birdland from the spring and summer of 1952 we find Getz in sparkling form. The mixture is typical of his repertoire of that period - bop originals, bebop variations on well-known tunes ('Long Island Sound' is based on 'Zing Went the Strings of my Heart', for instance), and ballads. His sound and general approach seem anything but cool, on joyful romps through the extended up-tempo tracks; moreover between Getz and guitarist Jimmy Raney there existed an excellent rapport, and the two men and their instruments blended well together. It is not surprising therefore that Raney, with his own quiet and unhurried approach, was the longest- serving member of the Stan Getz groups of this period. More than an hour of Stan Getz is always welcome. For it to be a live recording from Birdland is an extra bonus.

This two-CD sampler is most highly recommended for listeners not familiar with Stan Getz's recordings of the 1950s and '60s. Starting with a version of "Stella by Starlight" that co-stars guitarist Jimmy Raney, this set matches Getz's cool tenor with such artists as trumpeters Dizzy Gillespie and Conte Candoli, trombonist J.J. Johnson, baritonist Gerry Mulligan, pianists Oscar Peterson, Bill Evans and Chick Corea, valve trombonist Bob Brookmeyer and vibraphonist Gary Burton. Also included are his two main bossa nova hits "Desafinado" and "The Girl from Ipanema" along with a couple of tracks from Getz's highly-rated Focus album. It's a fine overview of the great tenor's middle years.

A 12-cut "very best of" Stan Getz? If it's on Verve it can come close, at least in the era of post-consumerism. What this collection does very successfully is mark the great saxophonist's most pronounced periods, from West Coast and bebop to hard bop, from bossa nova to balladeer to his final period with the great pianist Kenny Barron. Sure, "The Girl from Ipanema" and "Desafinado" are here but, more importantly perhaps, so are his deeply moving version of Billy Strayhorn's "Blood Count," recorded when he knew he was dying of cancer (Strayhorn wrote the tune for the same reason), his stomping bop version of Duke Ellington's "It Don't Mean a Thing (If It Ain't Got That Swing)," and the very late whispering version of Mal Waldron's "Soul Eyes." This is a beautiful little collection that would be a fine introduction to Getz as a jazz master and not just a bossa nova innovator.

This double-disc set features all of the studio performances between saxophonist Stan Getz and guitarist Jimmy Raney recorded between October of 1948 and April of 1953. The sheer number of labels the pair recorded for is staggering, from Sittin' in With to Roost, Savoy, Sesco, Clef, Prestige, and others. And while Getz, particularly on the early sides, is still deeply entrenched in his worship of Charlie Parker, the cool elegance of Raney's own playing is already asserting itself on the early sides, so that by 1951, Getz has moved toward the center from strictly bebop. Some of the other players on these sessions include Duke Jordan, Curly Russell, Blossom Dearie, Horace Silver, Roy Haynes, Frank Isola, and many others. There are 41 performances in all, giving a striking portrait of the era, and of Getz's development as a soloist and bandleader in particular…

Stan Getz's 1982 band featured the harmonically advanced pianist Jim McNeely, bassist Marc Johnson and drummer Victor Lewis; Billy Hart fills in for Lewis on three numbers. This date sticks (with one exception) to high-quality jazz standards, some of which ("Sippin at Bell's") are not performed all that often. Getz is particularly swinging on "Tempus Fugit" and quite lyrical on Billy Strayhorn's "Blood Count."

Because Stan Getz was so consistent during his lifetime - very rarely did he record a weak album - one greets a posthumous release like Blue Skies with enthusiasm. Although recorded in January 1982, Blue Skies remained in the can until 1995, four years after the saxman's death from cancer. Joined by pianist Jim McNeely, bassist Marc Johnson, and drummer Billy Hart, Getz is in excellent form on this generally caressing and introspective CD. The only up-tempo offering on Blue Skies is McNeely's cerebral "There We Go"; Getz is quite relaxed on Johnson's dreamy "Antigny" and interpretations of "Blue Skies," "Easy Living," "Spring Is Here," and "How Long Has This Been Going On." True to form, Getz makes the listener marvel at his tone throughout the album; without question, he had one of the sexiest, most gorgeous tones in the history of jazz. It's unfortunate that this excellent material went unreleased for 13 years.