Stan Getz Sax Solos by Getz Stan

Author:Getz, Stan
Language: eng
Format: epub
Publisher: Wise Publications

I’ll Remember April

Composers Don Ray, Gene de Paul & Patricia Johnson

Recorded Stockholm 1983

Source The Stockholm Concert Stan Getz Quartet, Sonet SNTCD 1019

Musicians Stan Getz [ts], Jim McNeely [pno], George Mraz [b], Victor Lewis [d]

Getz blends in with the rhythm section on the Latin style introduction, almost off-stage before the main event, where the tune starts manipulating the melodic line and rhythm with a variety of sudden shifts of emphasis. Notice that the piece is played in cut time, i.e., two minim beats to a bar.

It is difficult to know when his main improvisation really begins, but Getz starts to open up around bar 63, with a rising diminished scale. He then gets down to the serious business of creative performance.

An interesting lick worth practising occurs at bars 92 to 96. At bars 97 to 100, Getz inserts a common device used in jazz improvisation called a ‘quote’, a musical phrase taken from well-known tunes or songs; in this instance he quotes ‘A Tropical Heatwave’.

From bars 115 the piano drops out, leaving the melody line on the sax, plus bass and drums. Here, Getz exploits the lack of chords to good effect, emphasising his astute sense of spatial awareness, building the solo up to where the piano rejoins at bar 161. At this point the vitality and tension increases, taking the chorus on to further exciting developments.

The Girl From Ipanema (Garota De Ipanema)

Composer Antonio Carlos Jobim

Recorded New York 1963

Source Getz/Gilberto Verve 810 048-2

Musicians Stan Getz [ts], Astrud Gilberto [vcl], Antonio Carlos Jobim [pno],

Joao Gilberto [gtr/vcl], Tommy Williams [b], Milton Banana [perc]

Here, Getz’s solo displays restraint and economy of line, a distillation of many of his stock phrases, licks, and rhythmic interplay. Once again emphasising his mastery of control and understatement, he creates a profound solo, which fits perfectly into the style of the song. His breathy, first few bars echo Astrud Gilberto’s voice.

A favourite legato phrase of Getz appears in bars 28 to 31. In bars 33 to 37 he diverts the attention and interest by starting a rhythmic variation, before bringing the solo to its conclusion.

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