In sharp contrast, “When The Sun Comes Out” – a languorous slow number highlighting Getz’s lyricism – the upbeat “Like Someone In Love” and the mellow ballad “Spring Can Really Hang You Up The Most” were staples in the saxophonist’s repertoire, which he delivers with his customary aplomb. Getz’s horn exudes an exquisite fluttering quality as it flits over a lightly-swinging rhythmic backdrop. Driven by Haynes’ busy but at times almost delicate drums and Neves’ speed-walking bassline, Getz showed that he was a supreme melodist whose improvisations could be as inventive as those of fellow tenorist Sonny Rollins.Īs with “It’s Alright With Me,” the Village Gate performance of “Yesterday’s Gardenias” – a song associated with Glen Miller – is Getz’s only known recording of that particular tune. The two-hour 20-minute concert begins with a blistering version of the jazz standard “It’s Alright With Me,” which is Getz’s only known recording of a famous Cole Porter tune recorded by Ella Fitzgerald and Frank Sinatra. Though noted for his light, feathery tone – which helped to give Getz his nickname, “The Sound” – there’s a harder tone in his delivery on the Village Gate performance. Kuhn had previously worked with Coltrane (deputizing for McCoy Tyner) while the in-demand Haynes had played with Getz many times before, beginning in the early 50s.Īs the 3LP/2CD set Getz At The Gate shows in vivid detail, the group (nicknamed “The Boston Quartet”) had quickly become a slick, well-oiled machine with its rhythm section pushing Getz to new heights of expression that revealed a sense of drive, dynamism, and aggression that had hitherto been absent from his music. The rhythm section on the date comprised Getz’s then working band: pianist Steve Kuhn, bassist John Neves, and drummer Roy Haynes. When Getz took to the stage at New York’s Village Gate venue on Sunday, November 26, 1961, he had just finished up one of his most famous albums, Focus, recorded for Verve Records under the aegis of rising jazz producer Creed Taylor.
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