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Stan Getz - Moments In Time

Resonance Records HCD-2020

 

 

 

 

 

Summer Night

O Grande Amore

Infant Eyes

The Cry of the Wild Goose

Peace

Con Alma

Prelude To A Kiss

Morning Star

Personnel :

Stan Getz (tenor sax)

Joanne Brackeen (piano)

Clint Houston (bass)

Billy Hart (drums)

Recorded live at Keystone Korner, San Francisco, May 11-16 1976

Playing time: [64:41]

The idea for this release dates back to 2012 when producers Zev Feldman and George Klabin approached the jazz impresario Todd Barkan, owner of the San Francisco jazz club Keystone Korner. When the venue was up and running between 1972-1983, Barkan amassed a priceless archive of recordings of itís live performances. The roster is impressive, including Miles Davis, Bill Evans, Herbie Hancock, Art Blakey and Charles Mingus. These previously unissued live sessions from a week in May 1976 feature Stan Getz and complete a pair of albums issued by Resonance Records of two concerts, the other being Getz/Gilberto í76, Getz collaboration with Brazilian singer, songwriter, and guitarist Jo„o Gilberto.

For Moments In Time Getz, at his interpretative peak, is joined by three musicians he greatly respected and, by all accounts, at the top of their game: Joanne Brackeen on piano, Clint Houston on bass and Billy Hart on drums. You can sense the chemistry that existed between them. Keystone Korner was one of the saxophonistís preferred venues and this, coupled with the spontaneity and excitement of the live event, adds to the albums success and allure. Joanne Brackeenís imaginative contributions are sensational.

The long-breathed phrases that introduce Summer Night seem to float in the air and when the piece gets going the momentum builds and the energy is tangible. Getz had recorded it eight months earlier with Dailey, Houston and Hart, and another version exists on a 1969 French radio broadcast reissued by Verve. O Grande Amor which follows offers some contrast. A much more laid back affair, Getzís smokey timbre is patently seductive. The long expressive phrases of Infant Eyes are set against the sensitive accompaniment of Brackeen, who steps up to the mark with a thrilling improvisation at the end. Her virtuoisic skills are similarly showed to effect in The Cry Of The Wild Goose.

In Peace, what Joshua Redman refers to as Getzís Ďstorytelling abilityí is compelling, as are the pianissimo effects he achieves. At 121/2 minutes, Con Alma is the longest track and Getz contours the epic solo line with imagination and flair. Duke Ellingtonís Prelude To A Kiss has to be my favourite for itís radiant and enchanting qualities.

Sound quality and balance are perfectly agreeable. The 23 page booklet, with a cache of well-produced photographs and reflections from those who knew and worked with Getz, is a pleasing addition.

Stephen Greenbank





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