Music

Stan Getz: The Final Concert Recording

John Kreicbergs

Stan Getz

The Final Concert Recording

Label: Red Ink
US Release Date: 2001-11-06
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A candle burns brightest just before it goes out.

That well-worn expression describes so much of the final dizzying flurry of work of many of the greatest jazz artists over the decades that it has slipped beyond the grasp of simple cliché into the realm of saddening truism. To make matters worse, these stories are often rendered maddeningly tragic by the self-destructive slant the lives of these artists commonly took.

Stan Getz's career, from it's precocious beginnings with the Stan Kenton, Benny Goodman and Woody Herman big bands to his final European run, is marked by that rare trifecta of critical acceptance, peer influence, and commercial success. Tempering his ascent to the forefront of the "cool jazz" movement in the 1950s -- recording with likes of Gerry Mulligan, Lionel Hampton, Harry "Sweets" Edison, Horace Silver, and Oscar Peterson, to name a few -- was a very hard-fought struggle with drug abuse.

After a temporary respite in Europe, Getz returned to America in 1961 and teamed with Brazilian composer Antonio Carlos Jobim to bring the bossa nova into vogue, culminating in the incredible success of 1963's "The Girl from Ipanema". Another plunge into the depths of addiction followed a few years later along with another retreat to Europe.

In 1971, Getz returned to recording and touring, remaining active and prolific for the remainder of his career. Twenty years later, in June of 1991, Stan Getz passed away after battling with liver cancer off and on for four years. Considering his chronic alcohol and drug problems, it was surprising to some that Getz had survived as long as he did.

The summer prior to his death, bolstered by a fanatical devotion to his own health and a Chinese macrobiotic diet, Getz was extensively touring Europe in support of Apasionado, his latest album. The Final Concert Recording, the most recent posthumous release licensed by Getz's estate, documents a single night in the last few months of his life. Recorded at his July 18th, 1990 concert at the Munich Philharmonic Hall, it is a remarkable two-disc chronicle of one of the final masterful displays by the great tenor saxophonist.

Bassist Alex Blake and drummer Terri Lyne Carrington provide the rhythmic foundation for the carefully assembled sextet while the incomparable work of Kenny Barron at the piano provides a harmonic foundation for Getz's clean and characteristically clear tenor tone. Eddie Del Barrio and Frank Zottoli contribute layers of synthesizer for added color on the more contemporary funk/fusion flavored tunes.

The first disc opens with "Apasionado", which carries a distinctly contemporary feel. Getz's tenor swoops and soars against a gentle backdrop of string-like synthesizers and a lightly swaying bossa feel. Later cuts like "Espagnira (Espanola)" and "Coba" revisit this feel. All in all, these tracks carry their more modern face gracefully without degenerating into smooth jazz pabulum and feature Getz at his technical best. The most inspired cuts of the entire recording also originate on the first disc with a sweetly swinging version of "On a Slow Boat to China" and the Miles Davis original "Seven Steps to Heaven". These traveled classics, along with Johnny Mandel's "El Cajon", are amazingly fresh as Getz furiously asserts their importance along side his newer material.

On the second disc Getz takes a decidedly more acoustic approach, including the Thad Jones ballad "Yours and Mine", a gently sizzling rendition of "People Time", and Billy Strayhorn's "Blood Count". His tone is intoxicating and assured, offering clear proof as to his reputation as the sax player's saxophonist. Even Coltrane, it has been said, attempted to emulate the breadth and quality of Getz's sound. A turn on the standard Cole Porter classic "What is This Thing Called Love?" (complete with a solid drum solo introduction and blistering turns by both Getz and Barron) as well as a version of Barron's own original "Voyage", exemplifies Getz's immense improvisational facility.

The Final Concert Recording exemplifies the tremendous legacy of Stan Getz: an unmistakably breathtaking sound and the chops to back it up. Unfortunately, the quality of this recording is compromised by questionable moments of engineering and mixing at times, a fault of either the source recording or the mastering process for this release. Yet, the distractions are fleeting and the album still manages to capture Getz's inspiring essence.

The fact that Stan Getz remains as one of the most prolific jazz saxophonists, having produced over 300 recordings over the course of his career, is a tribute to not just his own sheer physical stamina but also his supreme talent on the horn and widespread appeal. Capturing some of these final flashes of creative brilliance is a rare gift for generations of players and aficionados to come.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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