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If you’ve never heard these quintet recordings you are in for a treat. They were recorded in 1953 ans 1954. They were originally recorded by Norman Granz for the Verve label. Now a British company called Avid has remastered them and released them. Getz and Brookmeyer are both at the top of their game. Two different but equally effective rhythm sections. This double album is an import but available from several different American sellers. It’s dirt cheap and well worth the investment.

Back in the 1980s, we invited Bob Brookmeyer to come to Stanford and give a concert with Stan Getz (who was then artist-in-residence). Bob and Stan played many of these charts that they had recorded back in the 1950s. I was especially impressed that Stan played the songs without any music – even though he hadn’t played these songs in years.

I asked Brookmeyer about this after the concert, and he remarked on Stan’s exceptional memory for music. During this period, Stan did similar things in other settings – for example, read through a score for a performance with string orchestra and immediately memorize a complex part.

thanks for the heads up!

Great clip. Thanks.

I just got the 1961 recordings of Getz and Brookmeyer from my daughter. Compared to the 1953-54 recordings I mentioned above, This session seems much more subdued. The artists have mature more, which is only natural, And there seems to be less urgency in their playing. The rhythm sections are very different. But both sessions 7 years apart are great. Maybe it’s just me but in the 1961 sessions i am already hearing that a major change in jazz is here or on it’s way at least. Many people put the “end of an era” so to speak at 1967 but I put in more like 64-65

I assume we are talking about Stan Getz at the Shrine, one of my all-time favorites. As a teen, my drum teacher Art Mardigan, had just come off the road with Woody’s band (by way of Lexington, KY, if that isn’t too cryptic). He played on the live half of the record and in my mind, was the more swinging drummer. The other was the minimalist Frank Isola, also from Detroit, who played on the studio cuts. Getz and Brookmeyer are great on the record, especially on “I’ll Remember April,” which has a cascading head unlike any other arrangement I have heard. I still go back to this recording periodically and have directed all of my friends and particularly jazz students, to this record. It is not necessarily the best thing either Getz or Brookmeyer have done, but it is a magical album.