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Music : Sweet Rain
Rating: 
- Among The Finest Getz Records
Stan Getz clocked up more than his fair share of classic recorded moments in his fifty year career, among them "Focus", his stunning collaboration with arranger Eddie Sauter, the "West Coast Jazz" session with its epic take of "Shine" and the latterday triumphs of "Anniversary" and "Serenity", as well as the more commercial pickings of the Bossa-Nova boom, kick started by the still alluring "Jazz Samba" album.
"Sweet Rain" is clearly the equal of these other landmarks. Released in 1968, at a time when jazz seemed to be searching every which way to find both new directions and an audience, it found Getz playing the younger men at their own game, mixing his already established trademark romanticism with a freedom, muscle and bite which makes the album not only one of the glories of the saxophonists discography but of all late 1960s jazz.
The complex, ever changing compositions of Chick Corea prove no problem for him here as he sails over metric shifts like a sports car changing gears. On the title track by Mike Gibbs he turns in a beautiful, fluttering, muted toned solo, totally in keeping with the compositions contours and on the latinate "Con Alma" he turns up the heat in a solo which covers the entire range of his instrument. Throughout there are touches of previously unheard tonal distrortion and vocalisation as if Getz were cocking a snook at some of the more radical tenormen of the day.
The rhythm section of Corea, bassist Ron Carter and drummer Grady Tate intermesh with Getz as if it were a working band, which incredibly it was not. Tate in particular deserves special mention, giving a truly awesome display of contemporary jazz drumming as it stood in 1967. Getz preferred drummer at this time was Roy Haynes and to say Tate equals him here is high praise.
The only slight reservation with this CD reissue is the non-inclusion of several other tracks recorded at these sessions, including a glowing rendition of "A Nightingale Sang In Berkeley Square", previously only available on a deleted Verve LP.
Rating: - Melodic, mellow, mature music
From 1967, tenor man Getz is joined by Ron Carter on bass, Grady Tate on drums and Chick Corea on piano.
The first track Litha was written by Chick Corea and the moods and tempos keep changing. Both solos by Getz and Corea are perfectly crafted to fit the structure.
O Grande Amor is a bossa-nova but with some progressivly more powerful kicks to lift it out of the syrup, thankfully. Wisely it is the shortest track on the album.
Sweet Rain is a Mike Gibbs composition and is truly wonderful reading here. Getz’s gentle, wistful sax savours and plays with the melody. The fine bass line is not to be ignored. Corea’s piano too is just perfect as it tickles its way around the tune. A fabulous piece of gentle jazz.
Con Alma is a boppy Dizzy Gillespie piece with some fine stick work from Tate coaxing the soloists along.
The closing Windows is another Corea composition. Another tune with changing moods and shifting pace with all four players contributing graetly to the interplay.
Getz playing throughout is thoughtful and poetic, searching, caressing and probing. A real craftsman at work. Certainly not as groundbreaking or as boisterous as Davis, Coltrane and Coleman but good, melodic jazz nonetheless.
- Among The Finest Getz RecordsStan Getz clocked up more than his fair share of classic recorded moments in his fifty year career, among them "Focus", his stunning collaboration with arranger Eddie Sauter, the "West Coast Jazz" session with its epic take of "Shine" and the latterday triumphs of "Anniversary" and "Serenity", as well as the more commercial pickings of the Bossa-Nova boom, kick started by the still alluring "Jazz Samba" album.
"Sweet Rain" is clearly the equal of these other landmarks. Released in 1968, at a time when jazz seemed to be searching every which way to find both new directions and an audience, it found Getz playing the younger men at their own game, mixing his already established trademark romanticism with a freedom, muscle and bite which makes the album not only one of the glories of the saxophonists discography but of all late 1960s jazz.
The complex, ever changing compositions of Chick Corea prove no problem for him here as he sails over metric shifts like a sports car changing gears. On the title track by Mike Gibbs he turns in a beautiful, fluttering, muted toned solo, totally in keeping with the compositions contours and on the latinate "Con Alma" he turns up the heat in a solo which covers the entire range of his instrument. Throughout there are touches of previously unheard tonal distrortion and vocalisation as if Getz were cocking a snook at some of the more radical tenormen of the day.
The rhythm section of Corea, bassist Ron Carter and drummer Grady Tate intermesh with Getz as if it were a working band, which incredibly it was not. Tate in particular deserves special mention, giving a truly awesome display of contemporary jazz drumming as it stood in 1967. Getz preferred drummer at this time was Roy Haynes and to say Tate equals him here is high praise.
The only slight reservation with this CD reissue is the non-inclusion of several other tracks recorded at these sessions, including a glowing rendition of "A Nightingale Sang In Berkeley Square", previously only available on a deleted Verve LP.
Rating:
- Melodic, mellow, mature musicFrom 1967, tenor man Getz is joined by Ron Carter on bass, Grady Tate on drums and Chick Corea on piano.
The first track Litha was written by Chick Corea and the moods and tempos keep changing. Both solos by Getz and Corea are perfectly crafted to fit the structure.
O Grande Amor is a bossa-nova but with some progressivly more powerful kicks to lift it out of the syrup, thankfully. Wisely it is the shortest track on the album.
Sweet Rain is a Mike Gibbs composition and is truly wonderful reading here. Getz’s gentle, wistful sax savours and plays with the melody. The fine bass line is not to be ignored. Corea’s piano too is just perfect as it tickles its way around the tune. A fabulous piece of gentle jazz.
Con Alma is a boppy Dizzy Gillespie piece with some fine stick work from Tate coaxing the soloists along.
The closing Windows is another Corea composition. Another tune with changing moods and shifting pace with all four players contributing graetly to the interplay.
Getz playing throughout is thoughtful and poetic, searching, caressing and probing. A real craftsman at work. Certainly not as groundbreaking or as boisterous as Davis, Coltrane and Coleman but good, melodic jazz nonetheless.