“I just spent the past several hours revisiting recording sessions made in 1964 by the Stan Getz Quartet. I can hear myself reacting to Stan in one instance after another. I recall those first few weeks with the group, struggling to figure out what would work, and Stan fretting and storming around the stage because I wasn’t doing what he wanted. I’m reliving how incredibly energizing it was to be standing next to him and playing.
Stan’s group in 1964 was organized by bassist Chuck Israels, who had recommended both me and drummer Joe Hunt for a short Canadian tour. It was a learning experience for us all, especially me. I had never been the sole harmonic accompanist in a band before, and to my chagrin, Stan turned out to be very demanding about how he wanted to be backed; hence our early struggle. After a few weeks, though, we all began to get used to each other’s playing styles — and within a few months, the group had found an identity and a sound. I had also gotten busy writing material and seeking out songs for us to play. Soon after, bassist Gene Cherico joined the band when Chuck left to tour with Bill Evans.
By mid-year, Stan was riding the biggest success of his career. His bossa nova music was released just when this band formed, and we were playing seven nights a week to sellout crowds. These particular recording sessions took place that summer because Stan wanted to get the group on record, and he was worried that bossa nova was burying his jazz identity. But because of the immense popularity of “The Girl from Ipanema”, putting out a record that wasn’t connected to bossa nova just couldn’t happen, and the tapes ended up stored in New Jersey. In some cases, I have great trepidation
about ancient records finally getting a hearing. But I’m thrilled that jazz listeners will get the chance to hear Stan at his best in these rare examples. And I’m pretty happy with the way the rest of us sound, too.
The recording quality is remarkably good, considering it was 1964, and listening brings back not only memories of the sessions themselves but the feelings of playing with Stan. Hearing these tracks again for the first time after three decades elicits deep and unexpected emotions. To my surprise, I recognize many elements in my own style that are still with me.
I marvel all over again at how magnificently Stan improvises. His powerful and exciting solos on the first few pieces just knock me over. And on the ballad Little Girl Blue, he makes beautiful melodies as few ever could; Stan did this every day of his career. His use of soaring dynamics was unusual for players in those days, and I was always enthralled with the way his solos built so much excitement. We never knew what he would do next, and he never held back.
I think I have only met or played with a handful of really great musicians in my life, and Stan was the first. I’m not even sure I was worthy of being part of his group. He influenced my own playing for years to come, and I’ll never forget him. I really miss him.”
Gary Burton
May 1994